Less dour than I expected, but perhaps more uncomfortable, this definitely feels like the indie production that it is, though that's never betrayed in its craftsmanship. The screenplay is nothing new or remarkable; there's nothing earth-shattering about the movie. Yet there's also nothing wrong with producing one's own take on the type of quiet drama that this represents, and to the credit of filmmaker Kyle Thomas, it's a good one. The cast is swell, not least star Alana Hawley Purvis in capturing Frankie's conflicted emotions with commendable nuance, and Joe Perry is very believably abrasive as disagreeable Grayson. Given much smaller roles, Nicole De Boer and Nikki Rae Hallow still offer warm presence with the time they have on-screen. I quite like the variable collection of music assembled for the soundtrack, and Thomas' direction and Mike McLaughlin's cinematography. Really, 'Range roads' is quite well done, and a pleasant watch despite the subject matter.
A credit to cast and crew alike, the real heart of the film is in the soft reflections on grief and family as seen through the lens of someone detached from both. The viewer has no more connection to Frankie's loss than she does, which doesn't mean there's nothing to feel on either account, only that the emotions aren't so acute - and the character is maybe more relatable as a result. Even if a family doesn't have secrets, even if we are close with our relatives, there comes a point where one doesn't actually know those closest to them very well as we build our own lives. Thomas captures this exact malaise with a hushed but unremitting completeness that's deeply gratifying, allowing the picture to be more impactful, if obliquely so, than one would suppose such a low-key presentation could be. There are no huge bombshells here, no spikes of vibrancy, and 'Range roads' is never anything more than gently compelling, yet that's all it wants and needs to be.
For lack of sharp drama or any especially gripping beat, I can understand that this is the type of feature that will swim on past some viewers without making any impression at all. That's okay; everyone has their own preferences. For my part, I think the delicate touch applied to every aspect of the production is just what it needed, the exact right tone to match the material. It was somewhat by chance that I came across this in the first place, but I'm very glad that I did, for as far as I'm concerned this is a small breath of fresh air in a cinematic landscape that commonly aims to be Big and Heavy. More contemplative than it is specifically moving, I'm pleased with how solid and enjoyable a movie this is, and I quite look forward to seeing more from Thomas in the future. If you like the less outwardly breathtaking side of the medium, 'Range roads' is well worth exploring.
