Dreamland Movie Review Dreamland, set during the Great Depression, makes for one helluva that depresses non-happening cinema. Your time is not worth the film starring Finn Cole and Margot Robbie.
True to its words, in a gritty romantic reverie from which it never quite awakens, Dreamland remains lost. It has the ability to be a strong drama, mixing bloodshed with passion.
As a gun-toting criminal, Margot Robbie delivers a show worthy of her stature as one of the young stars most quickly emerging. Sadly, the pale script and the lame path offer her no encouragement.
Set during the Great Depression, Dreamland (available on Amazon Prime) makes non-happening cinema a helluva boring. The seeds of a seductive mystery romance are sown but never nurtured so that the movie seems to be more idiotic than romantic.
The yawn-invoking yarn starts in a barn where the sexy fugitive Alison is concealed by a young farmer, Eugene (Finn Cole) (Margot Robbie). Both want the same things. No, it isn’t what you’re imagining. Both of them want to run, she to freedom, he to adventure.
Dreamland Movie Finn Cole And Margot Robbie
The ill-matched twosome flees and the plot assumes, unsurprisingly enough, the avatar of a cat-and-mouse chase, with Eugene’s disciplinary father eager to save his son from the seductive rapist.
So who will save the conspiracy from its fate of drudgery? Homeland begins as an ET version were a boy and his little sister Phoebe (Darby Camp) have to hide from the prying eyes of their alien visitor.
It then becomes a kind of bang-bang shoot-out drama from Bonnie & Clyde that hurls to a disastrous end. In this dimwitted tragedy, Phoebe is the only bright spot.
The path is messy enough to make the escaping characters look more like school children in need of correction than hot outlaws on the lam who “do it” in a hotel at last.
Without the promised glance, the sex scene is carried out like a striptease. The producer shoots the seduction of Eugene in the bathroom as Alison is showering.
We watch him slowly being welcomed by an off-camera Alison into the showering cubicle. It is beyond human understanding precisely why this sequence is filmed, as though the cinematographer failed to concentrate on the other person in the room.
I could only hope for as swift an escape for us as the two talented characters after a clumsily staged climactic shooting. They deserve more, all actors. We do so. Dreamland, directed by Miles Joris-Peyrafitte, has 2 stars.
