Film Review – Dreamland (2020)
We have always been fascinated with cops and robbers, villains and heroes, the dark side versus the light and while such opposites are usually quite distinguishable, on occasion we find ourselves rooting for the bad guy. No matter the crime, no matter the pain and hurt they have caused, we find ourselves linked to their tales and find it hard to pull away, particularly when those perpetrators have been pushed to the edge. We don’t condone their actions, of course, but such fascination is always present, not least with the robbers of old: Butch Cassidy and the Sundance Kid, Bonnie and Clyde, Kit and Holly from Terence Malick’s wonderful Badlands.
We mention those last two couples – and films – as their look, characters and execution are fingerprinted (in the best way) all over Dreamland, the new film from director Miles Joris-Peyrafitte and writer Nicholas Zwart. Both have won acclaim for their work on As You Are and Riverdale but this represents their most high-profile works thus far, not least because of star and producer Margot Robbie‘s involvement, propelling interest tenfold.
Fresh from her stints as Harley Quinn, Robbie plays Allison Wells, a woman on the run from the law though quite why and how we’ll leave you to discover but you may have worked it out already. She seeks refuge in a barn belonging to the family of Eugene Evans (Finn Cole) who are on hard times, not least because of their living in a dustbowl. Wells confides in the innocent Eugene and offers him $20,000 to get her across the Mexican border and an escape route. Infatuated with her, Eugene agrees and, as her story unfolds, he finds himself drawn deeper down a rabbit joke of deceit and danger.
So far, so very familiar but what elevates Dreamland above other films of similar nature are its two brilliant central performances that, in such a short space of time, really get our emotions pumping. Robbie rarely puts a foot wrong in all her work and here, she showcases her impeccable range once more, giving one of her finest turns thus far. Backed up by Cole’s insecure, vulnerable yet brave turn as Eugene, who dreams of a better life for him and his broken family, the two are stunning together, which is much of the film’s runtime.
Surrounding them is a sumptuous, intoxicating beautiful film that while doesn’t do anything new or unique with its story, allows it to play out at a gentle, inviting pace as the beautiful vistas that embrace them burst from the screen. Joris-Peyrafitte’s subtle yet dynamic direction is to be admired, as is Lyle Vincent’s stark photography, both lend the film a hazy, dare we say it “dreamland” style quality.
It is a shame that it doesn’t try to break free from convention and from its obvious plot revelations, but such is the beauty and power of the film that such indiscretions can, for the most part, be allowed. Robbie and Cole’s turns are worth the admission price alone.
★★★1/2
Drama | USA, 2019 | 15 | Cinema, PVOD | 11th December 2020 (UK) | Paramount Pictures | Dir. Miles Joris-Peyrafitte | Finn Cole, Margot Robbie, Travis Fimmel, Darby Camp, Lola Kirke
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