Life is messy and in the midst of that mess, lies family. Maybe that’s not the experience for every person reading this review. Perhaps there are those of you who had that reality of Leave It to Beaver: a wholesome experience where there was little to no fighting and the occasional scolding and spanking. I wasn’t that fortunate growing up. Yes, my parents are still married. I still talk to everyone within my immediate family and hold no ill will towards them. A great deal of these feelings and experiences feel fresh; like a tattoo still peeling. 

While no acidity still exists in these relationships, it can’t undo the damage. Nearing the tender age of 30, I reminisce on some parts of my childhood and can’t help but think of how relationships with some family members have turned out. Laughs and smiles seem a bit foreign to me. When my mind brings on the nostalgic theatre of memories, they feel more like a movie than a recollection. Moments that I desperately desire to change. It brings me back to my previous point of life being messy & family being in the midst of that. Family is nothing more than those slime gags Nickelodeon used to run in the 90s. In the grander scope of life, family is another messy story we tell generations. 

The concept of chaos masquerading itself as family still seems relatively new to us in media. It seems like only a few decades ago we were coming out of the wholesome sitcom image. We were moving away from things like I Love Lucy to The Simpsons or Married with Children. Even for the 1950s and 1960s, we’ve come to find out that subjects like abuse found themselves present. Even if we placed a little bit of makeup on that black eye and filed it under stigma because we’re alright. For his return to the world of movies for the first time in nine years, writer-director Thomas Bezucha tackles abuse among other topics in Let Him Go. Based on the book of the same name; the movie follows two grandparents (Diane Lane, Kevin Costner) who attempted to kidnap their grandson from an abusive home situation. 

I respect this movie on a multitude of levels. As a publication we cover a lot of horror films. Due to that fact, and my own love of the genre, I feel like I’ve found myself aligning with teenagers or young adults within these violent and revenge thrillers. Costner and crew have taught me that revenge isn’t home to an age. This film had me on the edge of my seat for a good deal of this movie. Performances from Costner, Lane, and Lesly Manville stab the cinematic knife into you and twist until you can’t take anymore. But it would be a crime not to mention the score which accompanies these performances. The music from Micahel Giacchino borders on the psychotic and leans strong into the strings for an effective score that goes above and beyond. 

Giacchino’s score is not married to the darker side of the story. On the contrary, the music is very atmospheric and equally sympathetic, though it’s that sympathy that makes the film feel like it’s being held down by an anchor. Bezucha’s decision to include objectless subplots about Costner and Lane’s connection to grief makes the film elongated. In general there are quite a few sequences that could have hit the cutting room floor and still left a quality film. We don’t need these sequences for emotional connection. That is perfectly established in the chemistry between the two leads. In the same way, we get Bezucha's mastery of tension. 

Overall, Let Him Go settles itself excellently under the guise of top notch performances, an atmospheric score and strong narrative. The Man of Steel reunion for stars Kevin Costner and Diane Lane prove that even seven years later, the chemistry is inescapable. Their radical counterpart played brilliantly by Lesly Manville brings this to be one of the year’s most effective and intense movies. Unfortunately, it falters with senseless subplots that make for cheap Hallmark moments. Let Him Go holds you equally tenderly and intensely for nearly two hours.

RORSCHACH RATING:

Mental Health Moment: While on a critical scale, I find myself taking issue with some of the film’s choices when it derails from its main narrative. I found one of the most tender moments within these diversions. There is a character named Peter in the movie. Peter is a Native American who dropped out from school and now lives alone in the middle of nowhere. There is a moment within the film’s final act where Lane and Peter, played by Booboo Stewart, are talking. Lane asked him why he’s alone when he has family nearby, to which Stewart responds that he’s not alone; that he has her for company. Such a simple gesture that meant so much to his character. Just to simply be in reach of another human soul. I believe that we need that kind of ideology right now more than ever. This year has been hard on us. Whether it’s tense now because of the political climate or the atmosphere caused by the virus - 2020 has taken no prisoners. It’s taken its toll on our mental health. Sometimes all you need to do is reach out and talk with someone. Even if that means texting or calling. I encourage you to reach out for your own good. 

If you or someone you know is reading this right now and you are struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message or tweet to us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written Josh "Captain Nostalgia" Burkey (and produced by) and more. Music by Mallory Johnson and others. Let Him Go is property of Focus Features. We do not own nor claim any rights. Let Him Go is now playing in theaters.

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