Read Positive User Reviews for Waves (2019)

10

nmuldoonDec 3, 2019

TIFF Update #10
Final TIFF Review
Waves - 10/10 So the last film I saw at TIFF also just happened to be far the best film I saw at TIFF. Waves is the new film from Trey Edward Schults, who at just 29 is already on his third film, hisTIFF Update #10
Final TIFF Review

Waves - 10/10

So the last film I saw at TIFF also just happened to be far the best film I saw at TIFF. Waves is the new film from Trey Edward Schults, who at just 29 is already on his third film, his previous works ‘Krisha’ and ‘It Comes At Night’, had style to spare and formal invention but only began to hint at the talent of this young filmmaker. Waves, then, is not just the culmination of everything that Schults has done before but also feels like a genuine changing of the guard moment, the emergence of a wave of millenial filmmakers finding a new way to tell old stories. It’s easy enough to describe the story of Waves, two dovetailing coming-of-age stories about members of the same family and their experiences with love and societal pressures - but it’s a whole nother thing to describe the experience of Waves. Schults film bursts with an propulsive cinematic energy unlike anything I’ve seen, his camera almost never stops moving, the film’s excellent soundtrack echoes the visual rhythms of the film and the character’s emotions, and Schults almost always plays with light and color to highten emotion. It often feels at times like you’re watching a new style of filmmaking one by a generation of filmmakers who grew up with an entirely different way of consuming media and has funneled that into their creative vision. I spent much of this film watching as it unfolds frequently just in awe of the montage of image and sound in front of me.

The acting in the film is uniformly excellent, but Kelvin Harrison Jr who also worked with Schults previously gives an absolutely unforgettable performance. This is an actor who can communicate unannounced pain and anger with a simple glance, his face often having to be the canvas for the film’s emotions during his segments many wordless passages. This is a beautiful humanist portrait of life, a call for empathy during a time when our society seems at it’s most callous. Waves is a film not just aiming for one of the best of the year, but one of the best of the decade.… Expand

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8

TVJerryDec 10, 2019

Sterling K. Brown heads this outstanding cast as a stern father whose demanding relationship with his son is the driving factor behind this film's absorbing and powerful look at a family. Interestingly, even though the family is black, it hasSterling K. Brown heads this outstanding cast as a stern father whose demanding relationship with his son is the driving factor behind this film's absorbing and powerful look at a family. Interestingly, even though the family is black, it has nothing to do with the story or situations. The first half focuses on the son's struggles that lead to tragedy, then it the centers around the daughter and the family's attempts to rebuild their relationships. This sounds heavy and it is, but the uniformly riveting performances and the slightly experimental, always brilliant direction by Trey Edward Shults solidifies the skills of this important talent. The equally intense score by Trent Reznor and Atticus Ross amps up the drama, while adding a potent overlay of sound. Although this film could have been slightly shorter (it's 2:15) and used fewer tears, it's still an affecting and complex story told with impressive skill.… Expand

1 of 1 users found this helpful10

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9

iheartmoviessDec 18, 2019

The film's bifurcated structure is the only reason I wasn't turned off by it's tragically toxic protagonist (Kelvin Harrison Jr in his second film by Shults) and emotionally destructive first half. From the prolonged opening shot to theThe film's bifurcated structure is the only reason I wasn't turned off by it's tragically toxic protagonist (Kelvin Harrison Jr in his second film by Shults) and emotionally destructive first half. From the prolonged opening shot to the over-directed, anxiety-inducing wrestling scenes I thought I was going to vomit. HOWEVER, the gorgeous photography of each family member and their gauzy, Floridian suburbia, especially throughout the calming second half, thoroughly wooed me. The detailed, if not exhausting sound design includes a library of shuffling songs and a rad Reznor/Ross original score. This is A Lot of movie: constantly shifting aspect ratios, deliberately colored sets and costumes, a totally unique narrative structure. All of this is reportedly in Shults' script, including colored fonts and specified aspect ratios. Adjacent to a horror film in it's first half, or "the brother's half" led by Harrison Jr, was unbearable in the way an Ari Aster film will portray excruciating moments of humanity, usually in the wake of devastation. The second half provided much needed relief to the increasingly destructive and anxious first half. The heart of the second half belongs to the sister, Emily (Taylor Russell in one of the best performances of the year), who is sidelined in the first half. Russell provides poignant scenes of healing with her father (played by the astounding Sterling K. Brown) and of romantic teenage vulnerability with Lucas Hedges. Also Renee Elise Goldsberry!!! I've seen criticism ranging from "a white filmmaker shouldn't tell this story" to "Waves hates black people". I know Shults wrote the script with Harrison Jr as his muse, interviewing and consulting African Americans along the way, but if people find the perspective abhorrent, they're totally entitled to that opinion. The family's upper class positioning is explored through Sterling K. Brown's primal protection of his son, a black teenager, by pushing his son to excellence, unaware his tactics were pushing him over the edge. Brown explicates his elemental fatherly protection directly to his son, articulating the burden of having to "work ten times harder" than white people to survive. Other than being irked by any upper class characters, I thought the integration of the character's class into the story had a haunting authenticity, especially after the film's first half. Also all those upper class kids WOULD be listening to Frank on repeat, so, idk I'm white.… Expand

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9

CornwallAdamsJan 15, 2020

Waves was without a doubt my favorite film of 2019. It's story pulls at each of your emotions, having you in a pit of despair one moment, and laughing and smiling along with the characters at the next. Each character plays a vital role. TheWaves was without a doubt my favorite film of 2019. It's story pulls at each of your emotions, having you in a pit of despair one moment, and laughing and smiling along with the characters at the next. Each character plays a vital role. The movie feels very interconnected, as each decision a character makes, greatly impacts somebody else. All of this tied together with a amazing soundtrack and beautiful shots.… Expand

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7

tropicAcesNov 21, 2019

Half this film is a masterclass in how to build tension and then let it snap. But then things keep going, and the longer they go on the more aimless things become. Still an overall positive view, just a shame it couldn’t keep it up...

3 of 4 users found this helpful31

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8

netflicDec 9, 2019

This is a third film by a young and very talented director Trey Edward Shults.
Shultz not only directs his movies but writes the scripts for them as well.
I loved his previous two movies "Krysha" and "It Comes At Night". This film is aboutThis is a third film by a young and very talented director Trey Edward Shults.
Shultz not only directs his movies but writes the scripts for them as well.
I loved his previous two movies "Krysha" and "It Comes At Night".
This film is about love, forgiveness, family relations, living through difficult times (not necessarily financially difficult but hard nevertheless).
Two protagonists are a brother and a sister, both teenagers close to high school graduation.
First part of the movie is mostly about Tyler, the second one is about Emily.
The film is sincere, psychologically deep and profound, rich with undertones.
Great performances allow characters to be believable and realistic.
I would highly recommend this film.… Expand

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10

grwood21Nov 26, 2019

Daring, emotional, meaningful, a must-see for suburbia youth and aspiring filmmakers.

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10

ecotler00Nov 26, 2019

any person with a modest understanding of familial trauma, narrative structure and modern cinema, should undoubtedly think this is one of the greatest films of this century.

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10

jbatthemoviesNov 16, 2019

Incredible. I’ve never felt so much in a film. I’m still recovering and I can’t stop thinking about it. Probably my favorite film of the year

4 of 7 users found this helpful43

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8

MattBrady99Dec 14, 2019

LIFF33 2019 #4

I went into this blind, but as soon as it was over, I instantly knew I witnessed something special. This is gonna be hard to talk about since the movie doesn’t follow a conventional narrative. Although I believe that theseLIFF33 2019 #4

I went into this blind, but as soon as it was over, I instantly knew I witnessed something special.

This is gonna be hard to talk about since the movie doesn’t follow a conventional narrative. Although I believe that these type of movies will stay with you much longer, as the emotional connection you had will be remembered for years. In other words, I will try my best to keep myself collective through out.

‘Waves’ is an absolute gut punch of a movie. Incredibly unique with its film making and overall presentation.

From ‘It Comes At Night’ to ‘Waves’, Trey Edward Shults is a director to look out for. I still haven’t seen ‘Krisha’ yet. The way he crafts stories and the close examination of these characters feels so close to life. It hit me on a emotional level. I love how the aspect ratio changes whenever the mood changes in terms of tone. There’s some impressive and effective use of camera work through out, but the scenes that stood out for me was every time someone drives, the camera will spin clockwise at the front - which reminded me of ‘It Follows’ clockwork-like spin. There was also some free flowing camera work that also reminded me of Terrence Malick movies.

The performances and characters were all fantastic. Sterling K. Brown delivers a fantastic performance as a strict and yet flawed father who’s method of parenting is incredibly demanding. He has a son and a daughter, but in the first half we only see him hang around with his son and sculpt him to be the very best, while not realizing his putting the weight of the world on his sons shoulders. We barely see him with his daughter and when we do there’s a sense of regret on his face, as if the painful realization is killing him.

Newcomer Taylor Russell truly shines as the heart of the family, which you later find out was from her perspective this entire time. Alexa Demie, Kelin Harrison Jr., and Renée Elise Goldsberry are all terrific, but most effectively was the characters portrayal that was both dynamic and soul crushing. Lucas Hedges is perfectly cast as a sweet young man with one of the kindest smile you could’ve imagined; warm and welcoming.

There was a lot of music from Frank Ocean and Radiohead, but it's something that the characters would listen to rather than the directors own playlist. It actually sets the tone throughout. While at times it can get a bit too much music, but that didn’t ruin the overall experience. I don’t know why, but this entire movie reminded me of ‘Moonlight’.

The best complement I can give to this movie is how unpredictable it is, because I had no idea where it was going. Putting aside that I went into this knowing nothing, but that wasn’t the reason. It's a long movie, but I was invested the whole time. What took me by surprise is how the movie is structured and how every act unfolds a new chapter. The first act was a rush of energy in terms of pace, but the second act is almost a different movie and feels almost mystical. And every action the characters make will lead a massive impact to other peoples lives...

Because when pain and tension rises, expect it to come crashing down and shatter you into million pieces.

‘Waves’ is great, but really underrated.… Expand

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9

MarkTakayamaApr 14, 2020

I love this movie.I really enjoyed the music and songs.If you have some issues in your family. You will learn that family is the most important in our society and life. Great movie!

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7

kbender24Mar 19, 2020

First half is incredibly tense and riveting, with some terrific work from the cast. The 2nd half is a pretty jarring change of pace and, while the performances were still strong, the film overall felt like it took a hit.

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8

Bertaut1Feb 6, 2020

Bleak, but never despondent; confidant and audacious filmmaking

As with writer/director Trey Edward Shults's previous films, the unconventional Thanksgiving drama Krisha (2015) and the brilliant but poorly marketed post-apocalyptic thrillerBleak, but never despondent; confidant and audacious filmmaking

As with writer/director Trey Edward Shults's previous films, the unconventional Thanksgiving drama Krisha (2015) and the brilliant but poorly marketed post-apocalyptic thriller It Comes at Night (2017), Waves is about a family under intense pressure. And as with those films, if you're into formalism, you'll find plenty here to keep you happy; elaborate camera moves, varying aspect ratios, unusual colour correction, striking shot composition, a sound design which bleeds into the soundtrack/score (and vice versa), and a quite audacious shift in focalisation at the half-way point. On the other hand, it's emotionally bruising and takes its sweet time getting anywhere, asking rather a lot from the viewer. But if you have the patience and are willing to take the journey on which the film wants to bring you, the cathartic rewards are many.

In a middle-class suburb in Florida, Tyler Williams (Kelvin Harrison Jr.) is a popular high school senior and skilled wrestler. Deeply in love with his girlfriend Alexis (Alexa Demie), he also has a good relationship with his sister Emily (Taylor Russell) and stepmother Catherine (Renée Elise Goldsberry). However, His relationship with his father Ronald (Sterling K. Brown in full-on stare mode) is somewhat strained due to Ronald, himself a former athlete who was forced to retire due to a knee injury, constantly pushing him to succeed. When Tyler is diagnosed with a Level 5 SLAP tear, he's told he'll need surgery or the damage will become permanent. However, he continues to wrestle and starts to self-medicate with Ronald's painkillers. At around the half-way point of the film, the focalisation then shifts to the socially awkward Emily and her burgeoning romance with Tyler's wrestling teammate Luke (Lucas Hedges). Meanwhile, the family must try to come to terms with a horrific act of violence.

The most noticeable thing about Waves is the aesthetic audaciousness, and for all its narrative gymnastics, it's the visuals that really pop. No matter how elaborate Shults's use of form becomes, it's always in service of the story, with the camera being used thematically rather than as a passive tool of observation. For example, the opening scene inside a car occupied by Tyler and Alexis is shot with the camera spinning in circles, completing multiple 360-degree rotations, immediately inculcating us into their sense of abandonment and exuberance.

In the first half of the narrative, which is focalised by the restless Tyler, the handheld camera rarely stops moving, reflecting his frenetic energy. However, when we shift to the quieter Emily, Shults uses more tripod shots and a slower editing rhythm, reflecting Emily's calmer disposition. Additionally, whereas the first half is awash in garish blues, reds, and greens, the second has a more muted naturalistic look. Another crucial part of the visual design is the aspect ratio(s). Beginning in 1.85:1, the frame gradually reduces in width until it gets to 1.33:1, which is how Tyler's section ends. Then, at the start of Emily's section, it starts to widen again, eventually reaching 2.35:1. The narrowing ratio of the first half reflects how Tyler feels he's being progressively trapped as things continue to go wrong, whilst the widening ratio of the second half reflects Emily's determination to recover from tragedy and reconcile her family. It's pure cinema, showing rather than telling.

Looking at the themes, Ronald barely acknowledges Emily, instead pouring all his effort into Tyler, through whom he's trying to live vicariously, pushing him to be the successful athlete that he himself could have been. However, Ronald is by no means the villain. He seems to genuinely feel that raising Tyler in this manner is the best thing, telling him, "I don't push you because I want to, I push you because I have to". The problem with all of this is that neither Tyler nor Ronald have a backup plan, so when things start to go wrong, Tyler immediately falls apart, essentially becoming a pseudo-Job figure, albeit without Job's self-awareness.

In terms of problems, there are a few blatantly expositionary scenes, such as a scene where Ronald outlines how hard it is for a black man to get ahead in the US. It just doesn't ring true that this is the first time Ronald has said this to Tyler. Surely he would have given him this talk in his youth? It's a well-acted scene in isolation, but in the context of the overall script, it's too literal. Additionally, Shults tends to veer close to melodrama on occasion.

Nevertheless, although it's initially bleak, Waves ultimately reveals itself to be about the ability of love to conquer despair, about how life can persist no matter the circumstances, about the importance and restorative power of family. Shults uses this framework to build a quite audacious monument that celebrates the ordinary without ever overshadowing it.… Expand

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7

All_ButTrU4Jan 3, 2022

Breathtaking. Sterling K. Brown heads this outstanding cast as a stern father whose demanding relationship with his son is the driving factor behind this film's absorbing and powerful look at a family. Interestingly, even though the family isBreathtaking. Sterling K. Brown heads this outstanding cast as a stern father whose demanding relationship with his son is the driving factor behind this film's absorbing and powerful look at a family. Interestingly, even though the family is black, it has nothing to do with the story or situations. The first half focuses on the son's struggles that lead to tragedy, then it the centers around the daughter and the family's attempts to rebuild their relationships. This sounds heavy and it is, but the uniformly riveting performances and the slightly experimental, always brilliant direction by Trey Edward Shults solidifies the skills of this important talent. The equally intense score by Trent Reznor and Atticus Ross amps up the drama, while adding a potent overlay of sound. Although this film could have been slightly shorter (it's 2:15) and used fewer tears, it's still an affecting and complex story told with impressive skill… Expand

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10

zNeverSleepingMay 1, 2020

Waves nos dá uma oportunidade incrível de experienciar situações e aprender com as mesmas. Nos ensina a ser uma pessoa melhor sem que precisemos passar pela prática do erro. É um filme pra te fazer pensar e refletir sobre o que é contemplado,Waves nos dá uma oportunidade incrível de experienciar situações e aprender com as mesmas. Nos ensina a ser uma pessoa melhor sem que precisemos passar pela prática do erro. É um filme pra te fazer pensar e refletir sobre o que é contemplado, e por isso e muito mais ele merece ser compartilhado.

Começando do princípio, temos a apresentação do Lifestyle de Tyler, que logo deixa claro a influência que seu pai tem na sua vida e como ele é cobrado o tempo todo. Tudo parece ir muito bem, até que as coisas começam a dar errado. O problema é que o personagem não tem o mínimo psicológico para lidar com aquilo, e o diretor brilha em preencher as lacunas e criar uma relação factível entre todos os personagens primários ali existentes. O elenco tá muito bem escalado e ninguém parece fora do ponto - e nem podiam, visto que a trama exige de todos um comprometimento enorme.

Como é de costume da A24, aqui há um uso muito interessante das black bars, que vão se fechando cada vez mais que o protagonista se sente perdido. As transições são pontuais e quase que imperceptíveis, sendo uma experiência absoluta para quem assistiu numa sala de cinema ou numa tela Amoled. Os diálogos são incrivelmente reais e convincentes, sendo destaque a discussão entre Tyler e sua, até então, namorada, que é de uma tensão fora do normal, pois já é sabido que o protagonista é mentalmente instável. Toda a construção da cena, desde a fotografia a composição sonora, como o alarme sinalizando que o cinto não foi posto, causam um sentimento ansioso e emergencial único. A cena da festa também é marcante no que se diz respeito ao suspense, fotografia e paleta de cores. Todo o universo construído até então é altamente verossímil, o que junto a instabilidade do Tyler, nos põe numa situação de perigo iminente. Sabemos o que pode acontecer e tememos pelo bem dos personagens, principalmente porque fica explícito que para tudo aqui há uma consequência. O comportamento do Tyler é advindo de seus traumas da infância, a falta de sua mãe, mais toda a pressão do pai. Seu amparo nas drogas como um modo paliativo para diminuir sua dor é muito claro. Sua incompreensão de valores comuns, falta de controle sobre a situação - e negação disso, decorrente de sua renúncia - provam esse ponto. Nada disso significa que ele não é culpado e que foi compreensível, e sim que ele é um ser humano, não um monstro.

A fotografia, quando abordada a visão do Tyler, além de indicar uma perda de perspectiva, também demonstra uma confusão mental, como na sua cena de luta, onde o mesmo a perde. Ela também trabalha muito com planos fechados, focando muito na expressão do personagem. A trilha sonora do filme é riquíssima e exige uma atenção a parte do público para notar o que quer ser dito ou passado, sendo a segunda opção mais orgânica e menos desprovida de observação. A sutileza do diretor/roteirista ao abordar assuntos aqui é maestral e digna de oscar. Nada parece forçado ou fora de hora, muito menos clichê. Sua obra é autoral e passa longe de ser militante. Temas como transtorno psicológicos - mecanismo de defesa, drogas, "doutrina esportiva", influência familiar e sua importância emocional na infância, consequências, Cyber bullying, aborto, racismo, pressão familiar, entre demais outros, são abordados de maneira orgânica e exigem devida reflexão sobre. Porém, o filme surpreende ainda mais com sua decisão de abordar as consequências do ato que Tyler cometeu, focando agora na família como um todo. Essa decisão foi perigosa, mas extremamente bem pensada.

Como o drama de todos os personagens foi bem fundamentado, seu desenvolvimento não foi nada além de natural. Há uma empatia por todos ali, advinda do luto, medo, angústia, raiva e ressentimento que os personagens estão passando. Cenas como o diálogo entre Emily e seu pai são no mínimo emocionante, junto ao encontro de Luke e seu pai, que traumatizou a sua infância. Todo o luto melancólico pelo qual Catharine passa é de doer o coração, e sua interpretação pela Renée Elise é de cair o queixo, junto com todos no projeto.

Waves nada mais é que um filme sobre consequências, que como uma onda, vão se formando e uma hora vem a chegar na beira da praia.… Expand

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10

OlivePartyJul 9, 2020

I found this movie intoxicatingly beautiful. Each role was amazingly acted and the soundtrack was perfection.

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10

tarqsAug 26, 2020

Emotionally moving. Important to see and very well made! The actors captured everything so perfectly. My favourite part was the first half!

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8

JordanLaytonApr 28, 2020

A family drama epic that's overwhelmingly fair to all characters. Fleshed out justification is shown for all actions taken, a rare trait in movies featuring predominantly teenage characters. It's not without flaw and hard to explain properlyA family drama epic that's overwhelmingly fair to all characters. Fleshed out justification is shown for all actions taken, a rare trait in movies featuring predominantly teenage characters. It's not without flaw and hard to explain properly without spoiling, but I will try. Imagine HBO series Euphoria with a little more focus on parents/family and somehow even more neon. I was legitimately surprised several times in the runtime with the directions the story went and that was a fresh surprise in a film that's mostly a teen drama. In truth, regarding genre, this is movie is far more about family, parenting, and healing. Themes of warning of the dangers of parental expectation, the snowball effect that consciously making a bad decision can have, and the power of the effect that kindness towards others can have on yourself are all packed into this one. Sterling K. Brown is riveting as always but the real shining performances come from the two children of the family the film surrounds, played by Taylor Russell and Kelvin Harrison Jr. The equal, but opposite paths these two actors play their characters progressing through are performed so wonderfully. The neon aesthetic of the cinematography in this film also works quite well throughout the runtime.… Expand

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