National Anthem

So many things could have gone wrong in the film. But the humanistic approach in the performances, direction and story makes this film worthwhile as we see a young man learn to find his place in this world. Charlie Plummer as Dylan carries the film on his shoulders. He has screen presence even if his character has a subdued personality at first as we see he becomes a stronger, confident and even more empathetic man over the course of the film. Many will call this a LGBTQ+ movie but it is more than that. There is no coarseness, cockiness or irritating over-the-top histrionic behavior by any the actors. There is a respect among the characters as they relate to each other that will engross and help you understand them. Charlie's home life could have felt like a simplistic TV movie of the week. But director Luke Gilford and screenwriters Kevin Best, David Largman Murray as well as Gilford care about the characters too much to let that happen and they show why, for example, in Charlie's household that despite their problems as a family they are able to live in the same home with care and understanding. His mother played by Robyn Lively is not the stereotypical struggling mother. How she relates to Charlie and his younger brother and how she conducts herself is a revelation that pays off towards the end of the film. The biggest surprises and unexpected moments come when Charlie is hired to work on a ranch for a couple of weeks. He has been working odd jobs to help his family and save up for an RV. That RV is his dream and Plummer pulls us in to his character where we hope his wish for that RV comes true. The ranch job enables him save more money but the job becomes a life experience as he meets a cast of memorable characters. He is enchanted by Sky who lives on the ranch and is beautifully performed by Eve Lindley. She becomes a mentor to Charlie to help him be comfortable in his skin and proud of who he is. She is also a spark in his sexual awakening. Mason Alexander Park as one the inhabitants of the ranch sparkles with a knowing conviction in pivotal moments to guide Charlie. Even Rene Rosado in a supporting role avoids the conventional expectation of a rancher whose character takes an unpredictable path. This film is one of the most original in its storytelling among recent films with one of the finest ensembles so far this year.

Charlie Plummer is one of the best American actors who's still largely "undiscovered." In LEAN ON PETE (2017), his quietly searing portrayal of a sensitive boy trying to lead a life of kindness in a cruel and grinding world helped to elevate that film to one of the twenty-first century's best. It's a movie that's not wholly different from NATIONAL ANTHEM, although gay director Andrew Haigh (WEEKEND, ALL OF US STRANGERS) took an asexual approach that left most of the queerness of Plummer's character as merely a subtextual potentiality. The potential parallels between the two films--combined with the fact that Plummer never disappoints in pictures as varied as SPONTANEOUS, KING JACK, ALL THE MONEY IN THE WORLD, and more--left me excited to see this movie. Unfortunately, while National Anthem is not a bad movie, it never really achieves the spark of greatness. It left me largely bored and disappointed.

Director Luke Gilford, in his feature film debut, strives for a few different emotional tones but doesn't really nail any of them. There are sex scenes, but they're shot with the strange lighting and angles of some 1980s music video, and so they're not really sexy. There are romantic scenes, but despite strong performances from Plummer as Dylan and his love interest played by Eve Lindley, there's not much chemistry--their romance is more of a coincidental shrug than anything that conveys passion. There are scenes of romantic conflict driven by Rene Rosado, the third part of the love triangle, but the development of Rosado's character is cliche and nearly nonexistent. There aren't any clear stakes to the question of "will they or won't they," so the conflict is dramatically inert and its resolution unsatisfying. The film is ostensibly a showcase of queer joy in the hidden world of gay rodeos in the American West, but it never feels very joyful, inspiring, or uplifting because there is extremely little humor or spontaneity; instead of taking in this world through Dylan's perspective, we see it in the form of docudrama photojournalism--colorful characters smiling for the camera--which gives us a nice glimpse of an unfamiliar world but never really lets us feel like we're taking part in it. There are scenes of coming-of-age family drama that perhaps come closest to achieving their goal because of how well Plummer plays off the actors portraying his mother and little brother, but even that drama is pretty tired and unremarkable. There are memorable moments, but they don't cohere into any strong thread. On top of all that, there's a psychedelic drug scene that is inconsequential; scenes of work that don't seem like they're depicting real jobs; a tragic action climax that is random, forced, and predictable; and, of course, the titular performance of the national anthem, which fails to add any real thesis to the movie's narrative sloppiness.

I've written many negative things, yet the movie itself was ultimately fine if unremarkable, and I'm willing to round up with my star rating because its heart is ultimately in the right place. I'm sure many people, perhaps especially young queer people growing up in rural America, will see a lot to relate to and enjoy in this movie, and I'm grateful for that. Personally, however, I was just kinda bored.

There were things i liked and things i was like holy canolli what type of ranch is this? A movie for the instagram generation. But with the self absorbed free hippy love-in cult semantics, and a few other issues, I found this film hard to swallow. It was a snore-fest even with all the fabulosity and Rupaul's Dragnation it felt like a party where you look around and think I need to find the exit pronto. It's glacier pace lost me and the hyped up Group love-in i knew this was just messy bunch i would not want to roll with let alone give my time. A ranch of able bodied people living ther, and they need Mexican day workers while trans women walk around in flowing dresses doing Sweet FA. WTF? The stiff acting and laughing about a traumatic issue, making light of being kicked out of a family. This isn't a must see, not even a must stream. The soundtrack was nice. However, It's a big fat I DON'T THINK SO HONEY for me.

Man, I wish I could get back my 1 hour and 40 minutes. I really wanted to like this movie, but it was a disappointing mess with bad writing choices and piss poor dialogues. While the film's intentions may have been noble, National Anthem ultimately fails to deliver a compelling or memorable story. The characters are so flat, they might as well be cardboard cutouts.

Totally, a missed opportunity I guess the director didn't have a clue to flesh out the story from the POV of Dylan (Charlie Plummer), who does his best in parts and completely out of place and probably not going to end well. Of course he is a good actor, but even his talent can't overcome the sheer awfulness of the script. The only redeeming quality is the chemistry between him and his brother. Those scenes are standout, with good staging, backed with decent score in an otherwise boring film.

In conclusion, "National Anthem" ahh wish i can say it's decent but I'll value your time well, it's just bad. I recommend skipping this one.

Luke Gilford's 'National Anthem' is a film that displays some considerable skill on the part of its director and cast. There are scenes that capture how it feels when you fall in love; and also scenes that reflect the tender pain of departure when you wish you didn't have to go. The film seems to be often described as "beautifully shot". Some of this is achieved by simply putting physically attractive people in the landscape of the American west; but this is done in such a way that does successfully evoke the desired vibe. The problem is that the movie only seems to consist of the big emotional scenes on which a greater film might hang; they're not earned, and there's no dramatic structure outside the slightly indulgent display of happiness and hurt. I also grew tired of the fact that almost every line of dialogue is whispered, as if the film is trying too hard to ooze sensitivity from every pore. Finally, it's never clear how our heroes, a commune of sexually non-conforming individuals, are earning a living; this is part of the reason for the absence of drama in the movie, as the group's contact with non-members seems limited to the interaction of the lead character and his mother. A little more conflict would not have gone amiss.