In Your Eyes
Joss Whedon is a screenwriter that every other screen writer shakes their angry mitts at. Not because he is particularly bad and does things so insanely wrong that we wonder why he is perpetuating our cinematic lives, no not that reason. It is completely the opposite. Everything he does is so insanely good that it’s no wonder that he is perpetuating our cinematic lives. Able to write and direct one of the most hysterical and fast witted superhero block busters of all time (The Avengers,) he is then able to translate Shakespeare seamlessly in a pulled back indie film (Much Ado About Nothing.)
Tribeca film festival let us into another treat this year that is available now via Vimeo; In Your Eyes. Directed by relatively unknown director Brin Hill and penned by Whedon, it centres on two strangers living miles away from each other; Dylan and Rebecca. The former is a convicted felon who is on parole in Southern Rural Americ
a where as the latter is the wife of a doctor recovering from psychiatry herself. One day, they discover that they can hear and feel each other, see the surroundings around them. However, will the people in their life understand this unusual relationship? How can they cope with this interruption?
In Your Eyes is an ok romantic drama that, with the unusual concept, relies on the strange connection between Dylan and Rebecca. Played by Michael Stahl-David (the lead in Cloverfield) and Ruby Sparks writer Zoe Kazan, Dylan and Rebecca’s most endearing qualities (and thus the films) are their conversations. Whedon pens some wickedly amazing dialogue that oozes with connection and chemistry. Though they are separated by land and connected by this strange occurrence, as they showcase emotions between wonderment, contentment and anxiety. The acting is strong and it pulls along this otherwise dull feature.
The problem with this independent film is that it can be quite bland. Relying too heavily on the concept, it plods along in a predictable and yawn inducing way. There are slight hints but not enough development for the overly dramatic end to pack the punch it should. The conflict in the final third seems hammered in there to make the poetic conversations and pretty things feel as though they are leading somewhere. In fact, it is unneeded and when the time comes for the characters to face their other lives it feels phonier than their physic connection.
It is enjoyable and works best when you are in a haze or perhaps for a lazy afternoon. But the plot is wafer thin and doesn’t enhance on the concept but bats it around like an unamused cat. Though the strength is within the characters and their impressive connection, the rest of the world around them doesn’t gel perfectly. One might suspect that this is the point, it doesn’t produce enough inspiration or hold any weight to really land well. Which is a shame because it feels as though the concept is utterly wasted.
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