The Humans
a24Generational developments in the Big Apple should not surprise audiences that much anymore. The Humans’ resourceful knowledge of New York and the ensemble cast it pieces together is impressive, but the drama that flows through it is not just expected, but surprisingly natural. That is the tone director Stephen Karam wishes to take. A natural explosion of underlying fears and hidden secrets between a family with the faux notion of commitment and care for one another. It has happened before, and it will certainly happen again in filmmaking. The Humans is only as special as the performances found within. It cannot differentiate itself from all the other lacklustre family dramas that middle-class, Manhattan-based filmmakers can offer.
But that is no problem. The Humans feels not too dissimilar to the Brexit-bubbling madness of The Party, and that worked on both an artistically satisfying scope and intense, story-boarded mania. The Humans, not so much. It takes time to learn the interests of the attending parties, and by that time they are already building their own echo chambers. Where that may be the greatest story asset of this A24 production, Karam takes on an interesting venue for these characters. Those silent moments with Richard Jenkins in the films opening display a quiet, surrounded quality. Sound ricochets off of the walls, and as people file into this derelict building, the claustrophobia and tension are almost palatable.
Almost is not perceptible, though. The Humans struggles as it brushes shoulders with quality. It is the wince that comes from nailing something incredible. An awkward, janky apartment filled with resentful characters is a goldmine when handled right. Karam and his cast handle The Humans right, the insatiable desire to get out of the house is too much for some. Doors swing to and fro, characters let off steam with outbursts and snide comments. It’s like any Christmas dinner, one from a nightmare vision, but one that surely comes from the heart. There is something emotive about June Squibb’s entry to the feature and subsequent role. She clashes well with Beanie Feldstein and Jenkins, all of who are on top form as ever. Amy Schumer, Steven Yeun and Jayne Houdyshell are equally as perceptive, and it makes The Humans a real delight.
Casting is the greatest asset of The Humans, a film that has some tense pride and interesting perspectives. The foibles of modern technology mixing with the older generation provide slight moments of humour, and that is needed to break the pace and tension. Karam has a good balance of light trivialities and darker ruminations of keen, emotive horror shows. The very worst of the closest relatives is brought out as they share food and break in a new home that houses three or four generations of the family. All of it is intense, but credit to Karam and the crew here, for they know to give breaks when necessary. Build it slow, break down fast and The Humans has plenty of time to pick up the pieces and fashion something new for this closely-knit, cramped up family.