Entanglement (2017) REVIEW – A Mismatched Tone

Quantum entanglement is basically when two particles become inexorably linked with each other; they cannot act independently, but instead operate in a relational way to the other. Exciting stuff. Entanglement, by Jason James, deals with this premise in a romantic way: two destiny-driven lovers coincidentally bump into each other, when Ben Layton (Thomas Middleditch) learns he almost had an adopted sister.

The film opens with Middleditch’s character trying to kill himself. A darkly comedic tone is established in his experimentation with a toaster in a bathtub or handful of pills, but things become grounded when we’re reminded of the situation by a bathtub tainted by the red of blood. Then, soon after, we’re back to a comedic, tongue-in-cheek awkwardness that permeates every aspect of the movie.

Entanglement

It’s in this mismatched tone that the Entanglement encounters its first hurdle: it wants to be jovial, and yet has a grounded reality that juxtaposes a little too jarringly. Take 2017’s excellent The Killing of a Sacred Deer, for example, or any of Yorgos Lathinmos’ movies; they feature dialogue that feels awkward and uncomfortable, but it lends itself to the tone the film is trying to incorporate. It forces unease onto the audience. With Entanglement, things just don’t feel right. It makes sense for Ben Layton to crack jokes about his Dad having a heart attack, because he’s an awkward guy – for a doctor to join in, though? Not so much.

For as much as its quirky title cards would suggest otherwise, Entanglement is also a relatively by-the-numbers indie flick. There’s summertime montages of fun, scored by upbeat, classical Americana. There’s occasionally heavy-handed narration that divulges a little too much, and treats the audience as dumber than they are. It culminates in an experience that feels so familiar, despite its ostensibly surprising twists and turns.

Entanglement

And yet I really enjoyed moments of the film – particularly those led by Middleditch himself. He’s a genuinely funny guy, and as somebody who doesn’t watch Silicon Valley, I’m really doing myself a disservice by not searching him out more. His performance is often understated, but that affirms his character so much more than if it were more blatant – of course. For all of Entanglement’s shortcomings, Middleditch certainly makes it a worthwhile 90 minutes.

Ultimately, the film could have been so much more if it embraced its oddities and shed the cliches that so restrictively hold it back. The directing and cinematography are fine, but there’s some genuinely excellent shots that hint at something far above what’s included in the final product. If you’re after a fairly digestible, care-free experience, then this might be the film for you. In a cinematic landscape that offers so much more, however, it’s difficult to suggest second best.

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