The Messenger


3.5/4

Starring: Ben Foster, Woody Harrelson, Samantha Morton

Rated R for Language and Some Sexual Content/Nudity

With a movie where the two central characters are a part of the Casualty Notification Service, you’d be right in assuming that this is not a happy movie.  This is a very sad story, all the more so for the humanity and sensitivity that the characters exhibit.

Will Montgomery (a wonderful Ben Foster) is a returning war hero finishing his tour of duty by telling the next of kin that their loved one has died.  His partner, the tough-as-nails Tony Stone (Woody Harrelson in his best performance in years) tells him to avoid any contact with the bereaved.  That becomes difficult when he becomes involved with a lovely widow, Olivia (Samantha Morton).

The three lead performances are nothing short of astounding.  Ben Foster gives a breathtaking performance as Will.  His strength and sensitivity are incredible.  Memo to Robert Pattinson: when playing a dark yet sensitive character, watch Ben Foster in this role.  Will is aloof, but Foster manages to make us care about him.  Foster is especially adept at using his body language to convey Will’s emotions.  It is shameful that Foster went unrecognized by any major awards. 

Woody Harrelson is generally known for his performances in goofy comedies like “Zombieland” and “Kingpin,” but he has had a number of stellar dramatic performances.  Harrelson deserved all the award consideration he got for his performance in “The Messenger.”  Tony is a recovering alcoholic, and probably because of this, he rigidly abides by the rules.  But as much as he tries to distance himself from the people he encounters on the job, he craves human interaction, and seeing Will’s humanity, reaches out to him. 

Samantha Morton has the least compelling role, but the British actress is to talented that she could make just about anything interesting, and she provides a well-realized anchor to the conflict between Will and Tony.

Few movies attempt to capture the essence of humanity and its capacity for sensitivity like Oren Moverman in “The Messenger.” Everyone here is a deeply human person, which is why this movie is so compelling.  And why the low-key humor works.  This isn’t a non-stop tragedy, like “Once Were Warriors,” but it is a sad movie.

The film’s flaws are mostly in the beginning.  The dialogue gets a little pretentious and there are one or two minor hiccups in the narrative, but nothing extreme (in fact, many might not notice them).  But this is a truly special motion picture.

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