Friday, February 7, 2025

“INHERITANCE”

THE STORY – When Maya learns her father Sam was once a spy, she suddenly finds herself at the center of an international conspiracy.

THE CAST – Phoebe Dynevor & Rhys Ifans

THE TEAM – Neil Burger (Director/Writer) & Olen Steinhauer (Writer)

THE RUNNING TIME – 101 Minutes


Advancements in technology have always been crucial in innovating the form of cinematic storytelling. Every new evolution is an invitation to an entirely novel approach to create an engaging spectacle in a new realm. The creation of digital cameras would find its way into feature film productions inevitably, but like any new piece of tech, it would not immediately seem like a viable replacement. The low-quality images didn’t escape beyond their consumer-grade quality, and while some films were able to use this aesthetic as an effective choice, most were too off-putting to be truly embraced. But as years ticked on, enhancements were made, and the line between analog celluloid and digital capture started to blur. The imagery is so successful now that even a phone’s camera can be utilized. The top-line description of “Inheritance” might be its reliance on this method of filming, which certainly gives it a unique presentation. However, like any film, it still must rely on the strength of its story and characters to be truly impactful. In that department, it is a passable yet slightly engrossing effort all the same.

The central figure here is Maya (Phoebe Dynevor), a young woman recently thrust into an emotional spiral after the passing of her ailing mother. Having been her caregiver, the loss hits with an even greater impact and truly devastates her. This is why there is an overwhelming curiosity with the appearance of her estranged father, Sam (Rhys Ifans). It’s clear the two have a complicated relationship, but he has shown up to offer her support at a critical time. He also extends an opportunity for employment relating to some international business dealings. Maya is skeptical of what sounds like shady practices but accepts the chance to bond with the only parent she has left. However, while spending time in Cairo, chaos breaks out. Her father is apparently kidnapped by nefarious groups he was working with, refusing to let him go unless an important item is delivered to them. Maya is forced to take a dangerous trek, where she soon uncovers secrets that threaten to tear down whatever peace she is looking to find.

Neil Burger’s filmography is one that runs the gambit between small indie dramas with a strong character focus to large scale spectacle based on familiar source material. It’s shorthand to call him a journeyman, but there is a versatility he seems to possess that makes him efficient but not incredibly distinct or remarkable. Perhaps shooting the entirety of the film on an iPhone is the way to bring some innovation to this piece, and admittedly, there is something to this choice that establishes a compelling intimacy. Jackson Hunt’s camera feels like a part of the natural scenery, approaching docudrama compositions as it glides through these spaces. There are a few too many close-ups on actors’ faces that mean to craft encroaching claustrophobia but instead are more repellent with how invasive they feel. Still, the sense of immersion one gets seeing Maya walk through a busy Cairo market without feeling like a giant crew is behind her goes a long way to fortify the realism. When tensions are heightened during one sequence involving a chase between a car and a motorbike, the anxiety is riveting. Utilizing the close calls in narrow alleys and cluttered traffic jams, it’s the singular showcase that best demonstrates how absorbing the film can become.

On the other hand, his direction is at constant odds with the screenplay penned by him and Olen Steinhauer, which trades on many pedestrian arcs to cobble together a merely serviceable plot. The direct and blunt dialogue flattens out much of the intrigue of the premise, especially in the first act when the building pieces to ignite the inciting incident are tedious and lethargic. It isn’t until we arrive in Egypt that the momentum starts to feel a tad more propulsive, but the writing still indulges in mundane setups with shallow characters to follow. The formation of this thriller that hops from different locations worldwide doesn’t seem all that captivating as it presents a standard structure to this simple mystery. The emotional motivation between father and daughter is also merely on the surface without much nuance to create a deeper portrait. The narrative plays out predictably, with every new revelation not as shocking as it is intended to be. The plot does at least move along at a more acceptable rhythm in the second half, but just enough to be passable and not extraordinarily compelling.

Dynevor is a commanding anchor here, even if the role itself doesn’t offer a whole lot of opportunities to deliver an impressive performance. She manages to capture the fragility of this woman, lost in turmoil and desperately seeking familial connection, who must not be thrown into a harrowing situation for which she is ill-prepared. Watching Dynevor navigate this space is intriguing on its own, and it’s nice that she never makes Maya out to seem indestructible. She imbues her with a cunning intellect that can act quickly without ever believing she has all the answers. There is still uncertainty in every moment when she has to quickly escape or outwit her pursuers, making her a more believable figure. It’s far more enthralling work than what Ifans is bringing. While he can be a magnetic performer, his flat affectation is representative of how uninteresting the character is himself. His screen presence is subdued and feels more like a pawn to be tossed around the confines of the story as a means to push events forward. To be fair, his portrayal is not distractingly bad, but with intentionally little chemistry shared with Dynevor and a bland outline to the character, there’s not much he brings on his own to make a grand impression.

There isn’t much of “Inheritance” that will seem revolutionary by any metric. Its plot is conventional, and the characters lack any sense of real depth to make them distinct and provocative. Yet, there is something to this demonstration that is alluring. Even though its conventions as a thriller are easily spotted, the film does manifest an exciting aura that works. You do become invested in the mechanics, and Dynevor’s performance is a solid foundation from which to build. While the film could have benefited from a stronger player in Ifans and a narrative with bolder choices, what does transpire is a pleasant enough ride that is mildly entertaining. Technology can make all the advancements it wants, but the cinematic landscape still depends on strong creatives crafting the stories. On this occasion, it’s an exercise that finds just enough moments to be gripping but not terribly remarkable either.

THE RECAP

THE GOOD - Presents a somewhat engaging narrative with some thrilling sequences and a plot that gets one invested in the twists and turns. Phoebe Dynevor provides an engaging performance that is a solid anchor.

THE BAD - The narrative is a pretty standard affair, with a tedious first act and shallow characters to follow. It never breaks free of conventional storytelling and often succumbs to being mundane.

THE OSCAR PROSPECTS - None

THE FINAL SCORE - 6/10

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Josh Parham
Josh Parhamhttps://nextbestpicture.com
I love movies so much I evidently hate them. Wants to run a production company.

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Latest Reviews

<b>THE GOOD - </b>Presents a somewhat engaging narrative with some thrilling sequences and a plot that gets one invested in the twists and turns. Phoebe Dynevor provides an engaging performance that is a solid anchor.<br><br> <b>THE BAD - </b>The narrative is a pretty standard affair, with a tedious first act and shallow characters to follow. It never breaks free of conventional storytelling and often succumbs to being mundane.<br><br> <b>THE OSCAR PROSPECTS - </b>None<br><br> <b>THE FINAL SCORE - </b>6/10<br><br>"INHERITANCE"