GRIMMFEST 2020: The Oak Room
GRIMMFESTCody Calahan's The Oak Room is a refreshing thriller that captivates its audience in a multifaceted narrative and strong central performance from RJ. Mitte.
The film is clearly inspired by narrative ploys found in Yojimbo and The Usual Suspects, but instead of feeling derivative of its influences, it solely wears them as a badge of inspiration. The Oak Room is its own entity, and even though its narrative arcs are not necessarily new ground, the feature feels fresh and intoxicating to witness.
One of the most vital aspects of Calahan's film, and one that might not seem overly conscious to the viewer, is that it never takes itself too seriously. It is never patronising on a narrative or informative level, and what is presented is multifaceted for the audience to work out without a wink of an eye pushing the truth. Calahan and writer, Peter Genoway drop enough hints within this screenplay without overly stating the obvious for quite a layered and impacting thriller.
To this degree, it is hard not to commend the fantastic editing from Mike Gallant here who offers a tight and compelling edit. There are two to three narratives going back and forth, and to each degree, they are interconnected and sliced to such an engaging extent it actually becomes frustrating that the viewer can’t see out each small narrative plot.
The strength of the screenplay makes for a deeper and more compelling viewing experience with richer material. The hints are sometimes obvious, and the others are minuscule but nevertheless incredibly engaging. However, the story can only pull the audience in so much, and this is a film that hinders on having a strong performance to pull everything together.
Thankfully, RJ Mitte absolutely runs away with his performance as Steve. Mitte has come a long way from Walt Jr in Breaking Bad, but nevertheless, in Vince Gilligan's show, the actor showed a tremendous ability with range and emotional conviction. His performance here is more restraint, but the maturity levels have risen; Mitte is not given responsive emotive material, he instead produces strong sinking monologues, crafted in an assertive way which allows his ability to shine.
On a smaller note, it is quite clear that Calahan and cinematographer, Jeff Maher were working on a tight budget. Nevertheless, The Oak Room shines with its intimacy and play-like aesthetic which, in hindsight, actually helps propel the atmosphere and tension ten-fold by focusing on characters and not the set piece. All in all, The Oak Room is a fantastic intimate thriller that holds its own weight against its bigger budgeted contemporaries and showcases RJ Mitte as one to watch.
