Director: J. C. Chandor
Writer: J. C. Chandor
Star: Robert Redford
Release date: October 25th, 2014
Distributors: Lionsgate, FIlmNation Entertainment
Countries: Canada, USA
Running time: 105 minutes
Best part: Robert Redford.
Worst part: The manipulative score.
In an Oscar season chock-a-block with dark docudramas, deftly comic road-trip movies, and visceral crime-thrillers, few movies have been brave enough to stand out from the pack. Despite the Oscar contenders’ overwhelming quality and relevance, movies that balance an entertaining action-adventure narrative with stark rawness become instant success stories. Delivering an engaging survival story, All is Lost delivers Oscar-calibre moments and thrilling set-pieces. It’s extremely difficult to mix these qualities together into a meaningful artistic endeavour. However, two geniuses reached out and grasped this fruitful opportunity.
With pulsating concepts and cultural preconceptions in hand, All is Lost delivers edge-of-your-seat thrills whilst occasionally remembering to take deep breaths. This intricate balance places All is Lost in the realm of memorable and confronting survival-dramas. The story itself is incredibly straightforward. However, in an age of convoluted and self-indulgent blockbusters, simple yet effective action-adventure movies are indelibly refreshing. The movie kicks off with a man (Robert Redford) deliberating upon his dying wishes and deepest regrets. Why to himself? He writes these haunting words on a scraggly piece of paper before placing the note in a jar. These revelations become his final statements whilst his life raft floats across the Indian Ocean. The movie then jumps back eight days, and the man’s priceless yacht, Virginia Jane, crashes into a floating, bright-red cargo container. Filled with cheap shoes, the tough container tears an excruciatingly significant hole into the boat’s starboard side (right, I researched it). With guile and quick thinking, the man repairs the hole with a glue-like concoction and scraps. Unfortunately, the soft patch is far from the man’s most exasperating issue. Soon after, he sails into a gigantic thunderstorm. Tossing his boat into impactful waves and currents, the thunderstorm tests the man’s steely reserve. However, the boat is nowhere near as strong as its captain. With the boat’s final voyage concluding disastrously, the man must choose between a memorable life and a horrifying death.
Survival tales blend intriguing, multi-layered relationships with celluloid’s emphatic potential. With metaphorical and literal conflicts eviscerating the big screen, their varying twists and turns deliver enlightening and punishing rewards. Spiritually enriching journeys (Life of Pi, 127 Hours) and discomforting life-or-death situations (Buried) define this beguiling genre. With these movies becoming major box-office hits, this popular and note-worthy genre strives to grasp its true potential. All is Lost – defined by groundbreaking technological achievements, captivating set-pieces, and an invigorating performance – continually delivers emotional impact and thematic resonance. Here, the survival narrative rests on an understandable and harrowing scenario. With retirees and ambitious sailors taking around-the-world trips each year, horrific casualties continually arise. Despite the ambitious idea, tumultuous conditions and poor preparation deliver significant risks. All is Lost, ideally, focuses on a specific point in time. With its limited scope and enriching authenticity, this action-adventure conveys specific points about morality and mortality. Director J. C. Chandor (Margin Call) immerses us into one pressing and heart-breaking situation after another. Sticking with the boat throughout its 106-minute run-time, Chandor’s vision is astoundingly touching. Becoming Gravity‘s ocean-dwelling relative, All is Lost similarly transforms into a soulful, exhilarating, and modest survival-thriller. To examine this movie’s most engaging aspects, the viewer must recognise the valuable details that remain missing. The movie never travels to other setting or characters. We are never introduced to relatives, friends, enemies, or even strangers. Efficiently, Chandor seems wholly fascinated by Redford’s idiosyncratic features. Assuredly, the narrative effectively tests the character’s survival skills, will power, patience, and faith. Mutedly, this survival-thriller, like our main character, looks upward for an explanation. Is God punishing this man? Is God solidifying his internal strength? Or, realistically, did the man make wrong turns during his voyage?
“All is lost here, except for soul and body, that is, what’s left of them, and a half day’s ration.” (Our Man (Robert Redford), All is Lost).
Lacking stupefying exposition, useless supporting characters, and obvious titbits, the movie allows the audience to piece together this mystifying puzzle. Pushing his only character to breaking point, Chandor’s latest feature tests humanity and Mother Nature’s boundaries. With thunderous weather patterns, dwindling supplies, waterlogged equipment, and predatory creatures affecting this journey, the movie, by pummelling Redford’s character, wallows in its harshly constructed world. Chandor’s style develops a picturesque and damaging reality. Here, Earth’s elements stand between the main character and a continued existence. Immediately stating that he is: “1700 nautical miles from the Sumatra Straights”, this atmospheric journey becomes an exasperating cinematic experience. Searching for land and/or passing vessels, this captain becomes a humanistic and conquering force of nature. Credit goes to Redford for delivering another textured and naturalistic turn. Reaching beyond his sub-par directorial efforts (The Company You Keep), Redford’s all-important physicality and charisma shine through this near-wordless role. Thankfully, Chandor’s directorial flair also provides an assuring and unconscionable aura. Exposed to the lead character’s drastic actions and recognisable reactions, we become one with his impressive yacht and amicable life raft. Frank G. DeMarco’s uncompromising and unique cinematography elevates unquestionably intense moments. Emphasising the man’s critically arduous situation, the camera commendably fuses with the movie’s desolate settings. Kept in close-up, the yachting sequences become heart-pounding and nail-biting roller-coaster rides. However, once the raft becomes key to the man’s survival, the camera dives into the ocean and soars into the sky. Immaculate pans and zooms establish this ordeal’s otherworldly impact. Graciously, chillingly powerful sound effects highlight crashing waves and tumbling vessels. However, the score becomes an unnecessarily overt distraction. The manipulative rhythms distort this otherwise organic and potent drama.
Elevating itself above the already intriguing premise, All is Lost is a gritty, realistic, and unflinching insight into mankind’s most absurd and thought-provoking endeavours. Despite queasiness becoming a major concern, Chandor’s style hurls the audience into the movie’s discomforting and perilous journey. Most importantly, Redford’s towering performance silences the critics – illustrating his immense star quality and intense range. Despite the quarrels, this is a purposeful and delirium-inducing thrill-ride.