By Jake Howell jake.howell@utoronto.ca
Sundance Review: THE BRONZE
It was unreasonable to expect the opening night U. S. Dramatic film would play as well as 2014’s electric Whiplash for a curtain-raiser to Sundance. Still, the festival has begun, and there are already titles buzzing with “must-see” status (having been turned away from The Witch this morning, which is receiving rave twitter reviews, I am already playing catch-up).
Still, there are some thematic similarities between that film and this year’s regrettable opener, The Bronze, a film that is centered around wanting to be the very best at something – or at least remembered appropriately for it.
Written by Melissa and Winston Rauch and directed by Bryan Buckley, The Bronze is a clichéd and predictable sports-competition film that you’ve seen a million times: from Bring It On to Air Bud, this film follows beat-for-beat the narrative of training for an important competition, and it’s up to the denouement to see if our protagonists come out on top.
But what’s different here from most sports films is the script and writing tone, which is an obnoxious filth-fest and a poor Diablo Cody imitation (think Young Adult, but while snorting an accelerant). Co-writer Melissa Rauch plays Hope Ann Greggory, a has-been bronze-medal gymnast clinging to her former glory in a small town still willing to celebrate her ten years later. Hope steals, she swears, she offends, she goes on detailed and painfully specific rants about … taints. She punches her protective and concerned father (Gary Cole) in the face. She needs a job, and she’s predictably offered one in the form of the redemption trope: train an up-and-coming younger, cuter gymnast to compete in a world-class event, and will Hope be able to restrain her explosive, caustic personality in the process? Will she find true love in her awkward co-trainer (“Silicon Valley”‘s Thomas Middleditch)?
I’ve never been a huge fan of Diablo Cody, so those who are may enjoy this knock-off piece of priss. But Cody’s work is at least nuanced, and narratively The Bronze is just all very obvious. And while playing to a successful formula will net a film decent points with a broad audience, if the jokes aren’t funny – or they simply come across as irritating, like so many of these cloying, in-your-face one-liners – then this movie sorely botches the dismount as a festival opener.