DURANT'S NEVER CLOSES is an ambitious step forward for prolific director Travis Mills. The film is wholly unapologetic about its nonlinear narrative and doesn't hold its viewers hand through difficult terrain. It is no small feat that (despite a few amateur performances and at least one extended take that tries the viewer's patience something fierce) I have found the film more rewarding through each subsequent viewing.
I'm often skeptical of films we're told demand revisitation. Experience has shown me they often are bloated with self-importance, tout style over substance, and try to be the smartest kid in the room. Despite its unconventional biopic, DURANT'S NEVER CLOSES is never guilty of these sins. It is a psychologically character- driven piece reminiscent of the classical Hollywood style both technically and visually (part of the reason, I'd like to imagine, Peter Bogdanovich chose to be involved). If its narrative feels opaque at times, it is a product of a young director's overreach—one who admirably errs on the side of concision rather than artifice.
It's a delight to watch trainwreck and all-around pain-in-the-ass Tom Sizemore chew the scenery here. He dominates nearly every shot of the picture with largely-improvised, curse-laden rants which help establish the film's tight pace. Michelle Stafford delivers a performance of effecting gravitas in the film's best sequence and Jon Gries's melancholic humor makes the most of his limited screen time.
DURANT'S NEVER CLOSES personifies Mills's auteur thesis of creating Arizona-based films by an Arizona-based company. The Hollywood talent elevates the product, but the vision is unsullied. Mills may just be the Joseph H. Lewis of Phoenix and DURANT'S NEVER CLOSES boosts his brand.
I'm often skeptical of films we're told demand revisitation. Experience has shown me they often are bloated with self-importance, tout style over substance, and try to be the smartest kid in the room. Despite its unconventional biopic, DURANT'S NEVER CLOSES is never guilty of these sins. It is a psychologically character- driven piece reminiscent of the classical Hollywood style both technically and visually (part of the reason, I'd like to imagine, Peter Bogdanovich chose to be involved). If its narrative feels opaque at times, it is a product of a young director's overreach—one who admirably errs on the side of concision rather than artifice.
It's a delight to watch trainwreck and all-around pain-in-the-ass Tom Sizemore chew the scenery here. He dominates nearly every shot of the picture with largely-improvised, curse-laden rants which help establish the film's tight pace. Michelle Stafford delivers a performance of effecting gravitas in the film's best sequence and Jon Gries's melancholic humor makes the most of his limited screen time.
DURANT'S NEVER CLOSES personifies Mills's auteur thesis of creating Arizona-based films by an Arizona-based company. The Hollywood talent elevates the product, but the vision is unsullied. Mills may just be the Joseph H. Lewis of Phoenix and DURANT'S NEVER CLOSES boosts his brand.