By Jack Grimme, Contributing Writer
I wouldn’t blame you if you told me that this review is the first you’re hearing of Raymond and Ray.The film didn’t appear on my radar until I was assigned it about a month ago. This obscurity allowed me to go into the film completely blind and without any expectations at all, which is the best way to view a film in my opinion. Some might argue that the complete lack of word of mouth doesn’t bode well for the film. I would probably agree. However, the recent slate of standout projects from Apple TV+, including their recent Best Picture Winner CODA,inspired me to refrain from counting the film out.
Ewan McGregor and Ethan Hawke lead Raymond & Ray as the titular characters. They portray a duo of pseudo-estranged brothers who reunite following the death of their distant father. McGregor plays the optimistic Raymond, determined to find some closure. Hawke’s Ray is the edgy womanizer with virtually no interest in revisiting this old chapter in his life. There is pretty much only one front they agree on: their father was a manipulative abuser with little to no redeeming qualities.
Jumping straight into the positives, I have to say I love this concept. Primarily because it is particularly relevant to our increasingly polarized society. Almost all of us have loved ones who sit on the opposite side of the aisle when it comes to certain issues. Some of these divisions cause rifts that can be reconciled, but sometimes your loved ones will cross a line that burns a bridge. Everyone has their own internal battle regarding where they must form those boundaries. Raymond and Ray essentially follow two brothers as they fight that battle. The viewer watches in real time as these men decide if they owe their father any forgiveness or love in the aftermath of his irredeemable actions. It’s a compelling theme and kept me engaged beginning to end.
Don’t get me wrong, these performances are far from career bests. Some weird tonal decisions make it hard to connect with the men at various points in the film. However, you can pretty much always count on Hawke and McGregor to deliver when it counts. There is a surprising amount of chemistry, and the two bring impressive amounts of emotion to the screen during a few pivotal scenes. Admittedly, I have many problems with the character Hawke is portraying. The way certain characters, particularly women, interact with him feels kind of archaic at this point. It almost feels like the writer was trying to make a wish-fulfilling, self-insert character. He’s the sarcastic, macho type with a one-liner loaded at all times. There are at least three scenes where random women fawn over him for no reason at all. Hawke’s performance is solid, and some of the nuances make it a little bit more forgivable. Unfortunately, the character tends to feel more like a caricature, which detracts from the story.
I also think that tees up the main flaw that is holding this film back. I’m not sure if it’s the script, the direction, or acting, but many aspects of this project just feel off. The characters don’t behave like normal people. There are several pieces of dialogue that seem to make no sense. There is a comment made towards McGregor’s character under a tree, if you are looking for an example. The humor very rarely lands, and it all comes together to make the viewer feel like they are missing something. I wish there was a better way to explain the feeling, but you pretty much must see the film to really understand what I am alluding to.
Ultimately, I think this film fails to capitalize on any of its strengths in a way that can secure any staying power. They underuse their leads and underdeliver on the interesting moral quandary at the film’s core. I do hope we see more films delve into these subjects, though. I believe there is some genuine catharsis to be mined here. How do you grieve a loved one who you don’t even know if you liked? A question as nuanced as that deserves much more attention than Raymond and Ray is able to deliver.
Score: 5/10
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