Here is the complete cast list of the thriller drama film.
#Film My Heart Indonesian Full Movie movie#
If you are looking for a movie with power-packed performances, then this film is for you. The cast of My heart can’t beat until you tell it to includes some of the most talented actors.
In the process, he happily erases less pleasant memories of his mannered turn as the kid around whose abduction Ridley Scott’s All the Money in the World so creakily hinged.My heart can’t beat until you tell it to Cast American cinema’s current go-to boy for pasty-faced hesitancy, Plummer, who still looks about 12 from certain angles, meanwhile confirms that last year’s Venice-prized breakthrough with Lean on Pete was no fluke. It’s a tricky balancing act, but it’s one they are able to pull off with assistance from a fine ensemble.Īs will come as a surprise to absolutely no one by this stage, Academy Award winner Tomei is powerfully empathetic, convincing and compelling throughout. Indeed, while the bare outline of Behold My Heart may sound somewhat off-puttingly morbid, Leonard and Bowman successfully prevent proceedings from becoming too heavy or dark with regular moments of mood-lightening humor. Margaret eventually follows him, all the while supported by her network of concerned friends including Nancy (Mireille Enos) - whose amusingly ferocious final-reel scolding of mopey Marcus is a crowd-pleasing moment of raw emotion blended with droll comedy. This occasions a painful breach between the two, explored in detail during the film’s second half as Marcus moves out of the family home in a quietly affluent corner of California and takes up residence in a tent in the nearby woods. His shocking absence knocks his bereaved kin off the rails: Margaret hits the bottle hard, and in a drunken stupor makes a fumbled romantic pass at her horrified son.
As such, Steve - who seems to have made his living as an alt-country singer-songwriter (the title, unmentioned and unexplained in the dialogue, could come from his lyrics) - is recalled as a perfect husband and dad, hip enough to share a joint (“Initiation”) with his teenage offspring. He nevertheless pops up throughout the remainder of the brisk 81-minute running time via flashbacks explicitly presented as being the subjective memories of Margaret and/or Marcus. They’ve been plunged into this state by the killing of Steve, which occurs just before the 10-minute mark as the result of a parking-lot scuffle.
Not only does this interrupt the storytelling flow, the title of the third chapter, “Inertia,” proves an inaccurate description of its contents this is the section where Marcus and Margaret start to emerge from their numbed inactivity. Leonard and Lowman’s only real misstep is their decision to break up the action into named and numbered chapters, each announced by a numbered card, the title of each quite arbitrarily starting with the letter I: “Initiation,” “Inebriation” and so on. As grief hits everyone in a different way, there’s considerable screenwriting latitude to depict oddball and unlikely-seeming behavior - for example, Margaret’s little-suspected flair for chainsaw sculpture. And it’s surprising that this belated follow-up failed to land a berth at the Utah jamboree, so closely does it conform to what’s become known, for good or ill, as the “Sundance movie.” No wheels are reinvented here, no new ground broken, and it’s predictable enough in terms of how individual scenes are developed.īut Leonard and his co-writer Rebecca Lowman deserve credit for delivering a straightforward and quietly affecting picture, intelligent and mature in its delineation of character and the unpredictable development of its narrative. Leonard’s directorial debut The Lie, which he also toplined, premiered at Sundance in 2011 ahead of a limited domestic release at the end of the same year.
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