Delia's Gone

I tried desperately, and I do mean desperately to like this film considering the historical body of work by the leads, Tomei and James. They did what they could with what they were given but why? Why did these two phenomenal actors even attempt to breathe life into this dull and implausible script? Marissa Tomei was the very life of Mona Lisa Vito in My Cousin Vinny and Stephan James embodied Alfonzo Hunt as I'm sure James Baldwin envisioned him when writing If Beale Street Could Talk. Were they doing a favor for writer/director Robert Budreau? Were they begged, threatened? Kidding of course (?). The caliber of these actors rises far above the lackluster script, simplistic direction, and stale cinematography that is the mundanity of Delia's Gone.

Delia's Gone is a decent movie. Even though it's fairly slow, it still keeps you invested in the story and the lead character's journey. Stephan James gives a good performance and Paul Walter Hauser is his usual likeable self. The musical score is distinct and fitting.

I really don't have anything specifically bad to say about this movie. I'm not sure what it is, but it didn't do much for me. It's fine. More than fine. But I needed more. It's the usual difference I feel between theatrical movies compared to the lower quality streaming movies. It doesn't have the "it" factor. (1 viewing, 4/9/2023)

"Delia's Gone" isn't just a crime drama; it's a gripping, emotionally resonant journey that stays with you long after the credits roll. Set against the backdrop of 1900s Savannah, Georgia, the film follows Louis, a man with an intellectual disability, as he embarks on a desperate quest to clear his name after being wrongly accused of his sister's murder.

Stephan James delivers a truly remarkable performance as Louis. His portrayal is nuanced and deeply moving, capturing Louis's vulnerability, his unwavering determination to find justice for his sister, Delia, and the profound grief he experiences. The scene where Louis confronts a potential suspect, his voice trembling with a mixture of fear and righteous anger, is particularly powerful.

The film masterfully maintains a captivating mystery. The gradual unveiling of clues, combined with a few well-placed red herrings, kept me constantly guessing. I was genuinely surprised by the unexpected twist near the end, which added an extra layer of intrigue.

"Delia's Gone" delves into profound themes of family, justice, and the challenges faced by individuals with intellectual disabilities. The film explores the complexities of sibling relationships, particularly the deep bond between Louis and his sister, and the devastating impact of her tragic death. The portrayal of the justice system is unflinching, highlighting the obstacles faced by marginalized individuals and the potential for corruption. Importantly, the film avoids stereotypes and offers a nuanced portrayal of individuals with intellectual disabilities, showcasing Louis's intelligence, resilience, and capacity for deep emotion.

While the pacing occasionally feels slightly uneven-- there are a few moments where the narrative slows down potentially losing momentum-- this is a minor quibble. "Delia's Gone" is a must-see for fans of crime dramas with complex moral dilemmas, those who enjoy films with a bleak and gritty aesthetic, and anyone interested in stories about seeking justice after being wrongly accused. This is a powerful and thought-provoking film.

In small-town suspenser "Delia's Gone" learning-disabled Stephan James' convicted of killing sis Genelle Williams, but on his release hears he may not've been responsible - sending him quietly, relentlessly (and violently) around his depressed, rural town after the truth via scrotes like Travis Fimmel, Billy MacLellan & Graham Abbey... as Sheriff Paul Walter Hauser & state detective Marisa Tomei hunt him (while addressing tensions between them). Hauser & Tomei's class make them by far the most interesting aspect, but they're too underused to save this from being simplistically mediocre. Writer / director Robert Budreau may have aimed for "Fargo" heights... but missed.

Conceptually, it's a great premise for a story, but producer, writer and director Robert Budreau missed a huge opportunity to make this a great film, had he at least consulted a seasoned filmmaker for much needed improvements in his writing and directing.

His story lacked cohesion, intrigue or any suspense. It was told in a static, inconsistent and bland "as a matter of fact" style, that dismisses any opportunity to become captivated or invested, especially when the normally comfortable 90 min runtime dragged on and on with slow pacing and too much filler for the little substance this film had to offer. This film could've easily been cut down to a short film, and it would by more appealing and enjoyable. Budreau's choice of depressing drab colors and poor cinematography just made matters worse. You can also tell he failed to direct his cast properly, especially Marisa Tomei, who seemed lost and out of place in most scenes, as well as some ridiculous dialogue Budreau wrote for her character as well as Stephan James' character. It's a generous 6/10 from me, mostly going to the great cast who did their best with what they were given.