‘Brooklyn 45’ Review – Lost In A War Of Words

Brooklyn 45 is an intensely personal bout from director Tim Geoghegan, playing like a puppet-show dancing to the tune of his every rumination on human nature, and the good (if that exists) within it. It’s a film about people, and where they go when they close their eyes for the last time, as well as whether or not what they do while they’re alive determines it. As far as this cast of characters go, none of them have an answer to any of it, and they’re all really stressed out about that.

This is a snarling, spitting-and-screaming picture that is confined to one single room. Not only that, but it almost entirely hinges on one ongoing conversation, with slow revelations retroactively shaping a narrative that is essentially untwisting itself as it goes on. Geoghegan also wrote this, in addition to his direction; his style is clearly defined, and again, personal. That really is the through line here, this is a deeply specific set of themes that the film feels almost predestined to hit as it does so with each along the way, telegraphing some and completely blindsiding you with others.

Despite that, the central point of interest here is definitely war, studied as a moral concept through the storied experiences of our main cast, who were all involved in World War II. They’re getting back together for the first time in a while, sharing new experiences, and new thoughts about old experiences. These talks draw back to wider conversations about life, spirituality, and much else within that realm. This film is at its best when working through the intricacies of that trauma and all the rest of their worries.

There are raw, complex moments in the characters’ conversations, and the consistent pace at which the story unravels within these conversations never allows them to dull. These moments are what make this film, working towards the overall claustrophobic, uncomfortable nature of it all as the tension increases and the voices get louder. Yet, despite the novel concept and a fair array of shining moments, the overall execution is a muddled mix of philosophy and clashing principles.

Being that there are a load of heavy postulations and observations in this film, and that spoken words alone drive the plot at almost every turn, the final product ends up feeling like a persuasive speech. The characters too often disappear into larger ideas that it seems like they were created to tout, losing their edges and melting into the background as you listen. As a result, character conflicts often feel rushed, and this further results in an ending that really derails the pace up to that point.

The final act picks up in energy and tone successfully, accelerating the tension and heating the central conflict to a boiling point, only for that ending to nip it all in the bud. It is a shocking turn of events that doesn’t feel like it happens in the same timeline as the rest of the film. Could this whiplash be a testament to a deeper idea regarding the nature of war, or some similar point below the surface? Perhaps, but even so, the jarring shift in characterization that spurs the twist sinks the potential for such a revelation before it even gets out on the water. It just doesn’t work.

This miss is made worse by just how good the cast is, because it robs them all of a chance to really leave a mark. Anne Ramsey and Kristina Klebe spearhead this bunch as a powerful duo that outline the film’s central theme perfectly in their natural opposition and unlikely pairing. The big finale not only robs that duo of their big moment, but basically cuts short everyone else involved, too. Not that the characters hadn’t already made a name for themselves, but nobody had really yet come into their own. Any of them could have done so in the final act, and all of them deserved to; yet none of them did.

I’d say the film could use more time to breathe and sort these things out, but it sort of stalls in the second act as is, reaching an early climax of conflict that probably should’ve been delayed to the third act. What results is an act-and-a-half of the group chasing their tails, hammering in messages and continuously spinning the same topics until they’re dizzy. By the time we actually need to be resolving these ideas, it feels as if the film could’ve done so much earlier, so the ultimate attempt to actually do so feels stale, and too late.

For every win there is a loss. The film looks very good, with an honest, passionate screenplay and powerful performances across the board. It is also overstuffed, haphazardly paced, and doesn’t stick the landing. Your enjoyment of Brooklyn 45 may depend on how Geoghegan’s many declarations strike you, but the final product is a mixed bag regardless.

Brooklyn 45 debuts exclusively on Shudder on June 9, 2023. 

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