If you were to just sit down and watch the first 15 minutes of Sharper, you’d think you were about to watch a delightful rom-com based on a meet cute in a bookstore. However in the world of Sharper, Benjamin Caron’s debut feature film, you’d be setting yourself up for just the first of many traps the film hopes you will fall into.
To go into too much of the machinations of the plot would be to spoil the potential fun, and this may be a movie that’s best served cold with no knowledge whatsoever – and if so perhaps watch it now and come back? What I can delve into presently is that Caron, and the screenwriters Brian Gatewood and Alessandro Tanaka, have setup a framing device that acts like a series of plays, each focusing on a different character, with a title card and everything. Each sequence however helps build the larger narrative, while both peeling layers off, and adding layers on, to the mystery of the story.
I mentioned earlier how long it takes to move beyond the initial setup, where we meet Briana Middleton as Sandra and Justice Smith as Tom, the aforementioned meet cute, and while they do a wonderful job throughout the film no doubt if you’ve seen the poster you’re wondering where is Julianne Moore, Sebastian Stan, and John Lithgow. Much like the revelations at large, these three are introduced gradually, and overtime they get increasingly more screen time. What I found by the end is even after anticipating their appearances, I actually loved my time most with Middleton and Smith’s characters.
This isn’t necessarily a slight against the actors. Lithgow perhaps has the easiest job, playing very much to type, and he does a fine job. Sebastian Stan and Julianne Moore get a little more to work with, and though Stan does a serviceable job, I think Julianne Moore, as she so often does, rises to the role with a bit more aplomb. Much of the story relies on the believability of these characters, and in that way Moore nails it. Likewise though Moore’s played so many roles over the years, it’s still nice to see one that further expands and highlights the range she offers as the incredible actress she is.
Probably what’s weakest about this film, and regretfully it’s a substantial weakness, is the plotting of the story itself. This is a movie that, even if you know nothing going in, very quickly teaches you what to expect, and then it just proves those expectations more and more right to the point where the reveal(s) you’re hurrying to get to since you’ve undoubtedly already guessed them. Twists only work when you’re not expecting them (and even then not always); so to have a film setup in this way, there’s just not a lot of payoff.
Additionally this film at times feels like it wants to tackle class, a la eat the rich; however, by muddying the waters of its characters in mystery, it also waters down the message. Likewise the premise led me to believe this would be more along the lines of a modern Count of Monte Cristo, which similarly is a story that in a way takes on class; however, this too wasn’t quite the case in a way that perhaps makes the film an original take on the concept, but not one that I think was even worth exploring.
Probably the highlight of the film to me was the incredible cinematography. Charlotte Bruus Christensen, known for her work on The Quiet Place, Molly’s Game, and The Hunt, captured New York City with incredible care and creativity. This is a city that’s been covered by cameras in near everyway possible, and yet some of the shots still felt fresh. I also appreciated how she was able to capture scenes in such a way as to perfectly mirror other moments in the film. My favorite use of this technique can be seen in the beginning of the film, and then at the end, as a particular scene and specific viewpoint bookends the film.
Ultimately despite the acting highlights of Middleton, Smith, and Moore, and the wonderful camera work, I still came away thinking the film was just ok. It was enjoyable enough in the moment; however, I won’t likely think about the film any further. Which the film probably should appreciate, because the more I’ve lingered on it, the less I’ve found to love.
