Subtle Naturalism
… the nuances stand out in Mr. Mottern’s telling. To convey the fraught emotion, he relies less on heavy dialogue than reaction shots in which body language and facial expressions help Ms. Monaghan and Mr. Bennett present their deepest, unexpressed feelings. The actors make a convincing tandem, with their characters sharing a propensity for foul language and aggressive behavior. Yet, their collective rage never feels forced. Instead, it comes from an honest place colored by the vulnerability spurred by years of rejection. The actors understand the key to playing angry characters and having that anger mean something: It’s not about what you say, but how you say it.
The movie steadfastly avoids histrionics, opting instead for the quieter truths of a mother caring for her son, much to her surprise and in the only way she knows how. It takes place in the long shadows, dimmed lights and dusty roads of a setting that befits a story centered on such isolation and amplifies the impact of the close bond that develops between Diane and Peter. “Trucker” is a movie for audiences that value a particular strain of subtle naturalism that one rarely sees on the big screen anymore, a nostalgic rehashing of the days when movies didn’t need to telegraph every last detail.
Review by Robert Levin
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