This movie is remarkable. I’d like to warn that it was also one of the most depressing films I’ve ever seen… but oh so good, I promise you that. ‘Where Is Kyra’ was very well done and the bleak, cloudy atmosphere created was so alluring that I couldn’t look away. I’d like to say it was an exceptional film.

It’s macabre and thought-provoking, sincere and honest in its description of what someone will do and who they’ll become when faced with severe adversity. I would use the word exceptional but for one choice director Andrew Dosunmu made that had me cringing when this action occurred in his film. Yes, cringe, and not in a good way. An absolutely terrible noise would accompany scenes where Kyra (Pfeiffer) was impersonating her dead mother.

I’m quite sure it was done to keep the audience on the edge so there was cause for it but it was so absolutely annoying and incredibly irritating that, for me, it not only dropped the grade down a touch but had to be mentioned to you. The audience is already mesmerized and get the point, Dosunmu. You don’t need to use sound to attack those who might have missed it. Trust me… no one missed it. The film is good without its use to influence us.

The lighting was dark and set the tone beautifully, but I will add this, the film is a bit too slow early on for the average moviegoer, however, I implore you to keep watching. That alone should never be a reason to avoid watching a film. It’s okay to allow a director to set the stage for you. I’ll try and do the same here.

The aforementioned Kyra, who Michelle Pfeiffer nailed superbly, is a divorced woman well past her prime. She’s living in Brooklyn and wants independence but with limited skills for today’s needs, she is having trouble finding a job that will keep her afloat. She moves into her elderly mother, Ruth’s (Shepherd), apartment and helps take care of her. These scenes, one of them with a very brave and very nude Suzanne Shepherd, are tremendous and the connection they have is evident as Kyra helps Ruth in and out of her bath, keeps her company… expresses to her how much she’s loved. Suddenly and unexpectedly, Ruth dies. Kyra is alone and for the first time feels abandoned. She looks around her mother’s home where her mother no longer resides and breaks down. Not only has Ruth left her but the financial support she was able to get is gone, too. What to do?

She meets up with one of Ruth’s neighbors, Doug (Sutherland), who also happens to be a caretaker at a nursing home. He’s had a checkered past but has found helping people to be cathartic and rewarding. He genuinely cared for Ruth and decides to do what he can to help her daughter. They’re physically attracted to one another, as well, so they begin to have a much deeper relationship that’s mutually beneficial. She opens herself up to Doug but when she gets so desperate for money as to do the unthinkable, she’s afraid of losing him so she keeps it a secret. She’s aware of the fact that what she’s doing can get her into bigger trouble but she’s not finding a job and doesn’t want to risk the relationship. She refuses to ask too much of Doug as she’s prideful to a degree so she tries her best to make it on her own, however, bills are stacking up and it’s time to act to remedy the situation. The rest of the movie is truly captivating and, largely, grueling but you will not get up until the credits roll. Not for anything. Phenomenal.

See this movie. Amongst a world of remakes and reimagining’s it’s quite unique and you’ll do a lot of thinking long after the film is over.

Playing exclusively now at Harkins Camelview at Fashion Square. Don’t miss it!

This is the story of an unstable man named Josh Norman, played by Zachary Quinto. He’s plagued with hallucinations of his brother, Craig (Hamm), who mistreated him when they were younger… or so Josh thinks. Craig, now a famous actor who Josh believes is morphing into other people, mocking and following him, actually takes care of Josh by sending him money, money that always purchases drugs for Josh that a therapist prescribes but doesn’t necessarily get Josh the true help he needs. What he needs is family and to be seen and loved; to know he’s seen and loved. I had many problems with this film, first of which is that with the amount of talent working on it, these actors should have been used better. They were great, don’t get me wrong, but the film they’re in leads you on a road to nowhere.

It opens on an owl watching an aardvark. Okay. That’s a metaphor for brothers Craig and Josh and you’re curious but, more to the point, it starts with such promise, however, by the time you’re halfway through Aardvark, you realize it isn’t going anywhere and your original thought of giving up on it fifteen minutes ago, should have been listened to. I assumed, by looking at the cast, that this was going to be quite good. I generally do approve of everything Hamm, Quinto and Jenny Slate, (who plays Emily, a therapist Josh starts going to) work on. I can’t say that’s the case with this movie. I had hoped it would be a hit, especially for Slate, as I respect her work so much that I’d like to see her continue to get larger roles but this movie might have been the one for her to skip… for them all to skip.

Enjoying the tone of the film in the beginning, you do like the characters and build a relationship with them but, unfortunately, the narrative between Emily and her patient becomes strained and consequently hard to believe. Director Brian Shoaf creates reasons for you to like Emily and then gives you all the reasons why you shouldn’t trust her and therefore, the story of Josh being unhinged falls apart to a degree.
Emily and Craig meet and she starts to speak on behalf of Craig to Josh and vice versa but she also falls for Craig. Maybe Josh just needs a new doctor? Eventually, you can’t help but wonder if the paranoid man is being gaslighted by everyone around him. Not that this would be remotely possible but is everyone around him in on it? His rich brother could be paying people to make him crazy.
The thought will cross your mind as the muddied script doesn’t get to the point until you’ve already checked out. Even when he meets Hannah (Vand) you wonder if this person really exists. That can be vaguely intriguing as he truly is under the impression his brother can transform himself to be anybody he wants but when the storyline provides you with hope, it then tears everything back down, trying to be a crafty love story but falling short of leading you to believe it’ll win you over in the end.

Perhaps this would have been better with some time to focus on which genre the script wanted to truly be. It’s frustrating as an audience member watching the filmmaker searching for the true voice of the film. The director needed to lead us. It isn’t good if he’s conflicted and this film was all over the place.

*Opens Exclusively at Harkins Shea 14