THE STORY – Charlie and Erin escape to the desert to navigate an unexpected and challenging new phase of their relationship.
THE CAST – Katie Aselton, Daveed Diggs, Susan Sullivan, D.J. “Shangela” Pierce & Brad Garrett
THE TEAM – Katie Aselton (Director/Writer) & Mark Duplass (Writer)
THE RUNNING TIME – 80 Minutes
The California desert is a healing place in many ways. Its tranquil, vast landscape invites relaxation into people’s lives, and though the dusty, rocky terrain may seem hostile, peace is never far away in this environment. When many find themselves facing challenges in their lives, as a married couple does in director/writer/star Katie Aselton’s sun-drenched psycho-drama “Magic Hour,” that setting ends up being just what they need to work through their inner turmoil. In this volatile exploration of grief, Aselton brings big emotions to the screen, which will be relatable to many. But that sometimes comes at the expense of truly diving into the depths of despair that she faces, and instead ends up being a more surface-level reading.
We’re introduced to the happy couple, Charlie (Daveed Diggs) and Erin (Aselton), during a high point in their life: Literally atop a Ferris wheel as Charlie attempts to combat his fear of heights. Anyone who’s been in a relationship knows it can be push-and-pull at times, and as far as we can see, this couple strives to help each other out, even in their most vulnerable moments. Already, the influence of Aselton and co-writer Mark Duplass’ real-life marriage is evident, and it only intensifies when Charlie and Erin face a shocking roadblock later in life. Long gone are their smiling faces as the two head to a friend’s (Brad Garrett) stylish desert retreat in Joshua Tree to reconcile with something very bad that happened. It’s not revealed what “it” is, and they keep tiptoeing around “it,” but home videos suggest they were struggling with fertility issues at one point in time. But once the big, bad thing is revealed, it comes as a clever surprise, and viewers will immediately want to start at the beginning again to catch any clues they may have missed.
Once all their secrets are out, it gives Aselton the chance to get into the messiness of heartache. Erin is fragile at this life juncture, with heightened emotions that often result in screaming matches with Charlie, who is more laid-back and interested in moving forward. In many ways, these parts depict reality and how confusing it can be to navigate these weird times that don’t come with instruction manuals. The added bonus of Aselton and Duplass teaming up on the script, who have likely experienced ups and downs in their time together, actually makes these conversations sound real, even all the ugly things that are said. But viewers might struggle when arguments become so repetitive and cyclical that no progress is being made. Erin is always the one to make the first move, which leads to Charlie’s demure response, which only makes things worse. As they keep having the same argument, the script begins to feel stale and doesn’t do enough to go past the surface with this couple. Though Aselton really does wear her heart on her sleeve as Erin, who is losing her grip on reality with each passing moment, the character becomes a bit much, almost a caricature, with her mood swings. Diggs’ gentle nature serves as a great counterpoint to balance this, even if he also loses his temper and adds to the noise.
While there are plenty of elements that root this film in reality, the more trippy, fantasy elements don’t deliver strong results. A healing massage turns into a “Ghost”-esque sexcapade, which will definitely leave many scratching their heads, along with the other “is this really happening?” scenes that unnecessarily pull the rug from under us. Instead, the moments that really shine are the quiet, reflective ones Erin shares with pals, such as a group of drag queens (including Shangela) who help give her a reason to dance and smile, and a sweet conversation she shares with Garrett’s character that gives her the strength to pick up the broken pieces.
In the end, “Magic Hour” is quite a mixed experience. There are plenty of real, raw emotions on the screen and the page, but the screenplay feels too repetitive and surface-level for most of the runtime. Fantasy sequences also hinder the film, which is a shame given the heartbreaking core story. Even though it’s not perfect, there’s still beauty to be found, both in the gorgeous desert landscape captured by cinematographer Sarah Whelden and its message of giving ourselves the grace to heal and navigate life’s next steps. That’s certainly one we all need to remember.
