[Rating: Minor Rock Fist Up]
In theaters on May 7
It is Lonnie Chavis’s destiny to one day surpass Tom Hanks as the most likable man in Hollywood. Known for his role as the younger version of Sterling K. Brown’s Randall Pearson on This Is Us, Chavis has already cemented himself in the business as a performer that excels in his charming innocent demeanor. Chavis’s endearing talents have now made their way to cinema’s spotlight, as Chavis stars in David Oyelowo’s directorial debut The Water Man. Chavis is impeccable as Gunner, a young man with a big imagination who risks his life to find a cure for his mother’s illness, elevating The Water Man to a higher standard than the typical family adventure film. Oyelowo’s debut may not be an out-of-the-park grand slam, but Chavis and the film’s vivid creativity makes for an enjoyable experience with splashes of Steven Spielberg’s 80s influence.
As the iconic SNL Character Stefon would say, “The Water Man’s nostalgic plot has it all. A new kid in town without any friends, a dying parent, an edgy pre-teen girl with a bad home life and dyed hair, an adventure into the unknown based on an urban legend, a father who doesn’t understand his son, and a son who doesn’t understand his father.” Going down many paths that have gone down before, The Water Man takes audiences on an endearing adventure as Gunner seeks out to find a cure for his mother’s illness by any means necessary. Partnering with the intense Jo (Amiah Miller), a young woman who lives in an abandoned building in the woods, the two unlikely pair travel further into the wilderness to find The Water Man, a mysterious entity that is rumored to have healing powers.
The foundation of The Water Man’s plot is a hodgepodge of family adventure and drama troupes. Oyelowo narrowly weaves through an abundance of clichés to sill create an original story by allowing the film to find its footing through its focus of a child’s imagination. Mainly through the perspective of Gunner, The Water Man’s narrative is not about daring children in a real and dangerous world, but instead allows the world to come alive through its mysticism seen through a child’s eyes.
While real-life danger exists, the audience’s lens into this world is through the invincible naivety of its young protagonist. The real trouble are not the monsters in the present, but the acceptance of the uncertainty of the future. As the film follows Gunner and Jo through their expedition, the audience is left not to worry about their lives, but for their innocence. Emma Needell’s imaginative script is less concerned about heightening the stakes into absurdity and instead builds upon establishing genuine empathy with the film’s characters.
For the most part, Oyelowo is successful at containing the film as it moves in many different directions. However, there are blatant times that the film’s fast-paced nature and constant scene-shifting becomes too much for Oyelowo to handle. The film spreads itself too thin relying on its relatability, opposed to building upon character development and dynamics with one another. All attempts to justify the conflicting relationships between the characters are far too cookie-cutter. The underlying stress of the grieving process is used as an empathetic band aid to cover up the half-baked relationships between the characters. It makes sense that Gunner and his father Amos (Oyelowo) would butt heads due to different outlooks on life and the shared fear for the mother’s (Rosario Dawson) life, but the film does not attempt to explore the relationship further. What is left is a more melodramatic feel in the performances, opposed to a more gripping emotional exploration found in A Monster Calls, a recent film with many narrative similarities.
Faults aside, the biggest factor for a family drama to be successful is if it carries an honest heartfelt weight throughout. While The Water Man never reaches “ball your eyes out” heights, the film contains a lot of heart. Held up by a tremendous cast and breakout performances, the film’s heart and loving tone never have a dull moment. Showcasing many different perspectives of love, from a husband to wife, a mother to child, and a friend that needs it most, the film finds its greatest strength in displaying moments of love. Voyeurism is shattered and the film begs its audience to be a part of the group hug everyone needs from time to time.
The technical aspects of The Water Man significantly contribute to the refreshing elements of the film, as it binds with the active imagination of Gunner. Cleverly constructed shots, confine Gunner in his home to feel helpless, like a prison to the situation he finds himself trapped in. This effect is countered by the vibrant moments of animation that appear as Gunner draws and develops his stories. These moments bring life into a film at times confinement, showcasing the power that one’s imagination has to mentally escape from any dire situation.
Jonah Desneux is a recent graduate from the University of Missouri with a BA in Film Studies. It’s baffling that someone who just spent four years writing film paper after film paper would immediately want to write some more, but hey, he must love it! Along with writing about film Jonah enjoys writing and performing sketch comedy in Columbia and Kansas City.
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