Movie Review Same Kind of Different as Me
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Same Kind of Different as Me
"Same Kind of Different as Me" is a meridian nominee for the Nice Movie of 2017, in that it simply wants to exist and be kind when not trying to extract tears from its audience like test subjects. Spiritually, information technology feels relatively tame compared to other religious movies, as it doesn't proclaim that "Heaven is For Existent" or "God'due south Not Dead," but information technology does employ the Bible equally a moral compass on its banal journey of selflessness. Its biggest run a risk is that it might alienate members of the KKK, but in this climate the pic's producers might recollect that'south epic enough.
Based on the bestselling book, which inspired both a sequel and a children's accommodation, "Same Kind of Dissimilar as Me" is the true story of a wealthy Texas white couple, Ron and Debbie (Greg Kinnear and Renee Zellweger), who befriend a violent homeless man (Djimon Hounsou). He calls himself Suicide, but is actually named Denver. Debut co-author/director Michael Carney doesn't accept much of an eye for whatever of this saga, which includes a "Bullheaded Side"-similar narrative that transitions into a weepy sickness tale fit for Nicholas Sparks that I won't spoil, but the true story attribute is a type of preservation itself. It can be hard to disagree with the middle and events of this truthful tale, except for when the movie reveals itself to exist mighty cocky-congratulatory.
The book, which features the "voices" of Ron and Denver as organized by their co-author Lynn Vincent, makes a point of starting with Denver'southward narration before then going to Ron, as Denver shares a horrifying racist episode from his youth that'southward featured in the middle of the picture. Simply instead of feeling like the story belongs to both men, this movie is told from Ron'due south perspective, framed every bit the tale of a Texas art dealer who knew a smashing woman who helped introduce him to a sidekick. Ron is brought into the world of taking care of homeless people as a blazon of penance after Debbie catches him cheating; she takes him to a shelter in a less-loved part of Fort Worth, which leads to a lot of apparently "nice" scenes in which Debbie and/or Ron interact with homeless people, care for them like human beings. One night, Debbie dreams of walking through a field and seeing a black man, the blazon of straight-faced narrative detail that proves to be a big deal in a movie similar this.
That mental epitome soon barrels into the movie in the course of Suicide, literally with a baseball bat in paw every bit he tears up the homeless shelter's cafeteria. Scene-by-scene, as Ron & Debbie reach out to him by acknowledging him and feeding him, the intense man loses the thick exteriors and offers perfect wisdom afterwards perfect wisdom. He is later welcomed into their home, and their social lives. We learn, through monologues accompanied past flashback, about Denver's truly unbelievable past: that he lived in Louisiana and picked cotton in what was essentially slavery, completely removed from the ceremonious rights move or any such modernity; that he was beaten by KKK members every bit a teenager, and after went to prison for trying to rob a bus in Shreveport. Hounsou's scraggly voice shares these stories through extensive monologues as Kinnear and Zellweger listen, with Hounsou doling out precise line-reading and tears. Truthful to the hollow cinematic spirit of this picture show, Carney can only accompany with banal flashbacks or stubborn modern-twenty-four hours close-ups that soak us in Hounsou's wet eyes.
The film gives a strong juxtaposition of why Ron & Debbie and Denver would exist unusual as friends, which makes for a sweet spot in the middle when Denver is shown hanging out with them. The scenes are cringeworthy to be sure, like when 1 of Ron's peers at a country lodge calls Denver an "amigo Negro," merely the shimmer, that value of "nice" is prominent, as performed past three capable actors. In fact, in many instances, Kinnear, Zellweger and Hounsou brand the production seem like it has more than soul than the sappy strings, wholesale dialogue and lazy filmmaking would suggest.
It should exist said that Hounsou gives what is easily down i of the about intense performances that these mod religious blockbusters will ever see. Actors of all religious credo levels, from shoulder-shrug to Uber Kirk Cameron, discover their way into these moral melodramas as mere projects, with inconsistent spiritual or artistic inspiration. Just expect at Jon Voight in this film, who phones in a curmudgeonly boozer operation that makes for a weak subplot about being forgiven by his son, Ron. But Hounsou recognizes something volcanic in this character—a profound soul who has survived many lifetimes, alone; Hounsou believes something about this story that others do not. In turn, he provides a functioning with an intensity this project doesn't deserve and in plough doesn't know what to do with.
As the story ambles along, focused near of all on heart strings, Denver's shallow purpose to the film is revealed. His narrative duties are limited to telling a distressing story from his by, crying, and making his new friends experience all that more assured virtually what they have washed. Whenever Denver offers wisdom, including a perfect speech at the finish where this movie gets its title, and so takes a spot to the side, his handling gets all the more than tedious. While there is a fascinating story within hither of an unlikely connection between a married couple and Denver, "Aforementioned Kind of Different as Me" would rather make information technology specifically and obnoxiously almost the selfless, magical white people and the homo beingness who benefited from their kindness. It's worse enough that the story dulls down the spirit of Ron and Debbie; it'due south even more gross how loftier the story tries to prop up Denver.
Nick Allen
Nick Allen is the Senior Editor at RogerEbert.com and a member of the Chicago Film Critics Association.
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Same Kind of Dissimilar equally Me (2017)
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