The title Finestkind is a word that, in the film, the characters claim can mean anything depending how it’s said. One problem: claiming something means anything can often result in it meaning nothing at all. That is exactly how I felt watching Brian Helgeland’s latest film. So much of the film is just a series of events, without an overarching throughline or event that kick-starts the conflict and dramatic tension for its characters.
We focus on Charlie (Toby Wallace) as he visits his fisherman half-brother Tom (Ben Foster) on the docks of Boston. Though it’s a happy reunion, it’s an immediate indicator that the two come from very different worlds. Tom lives a laborious life. His world is out on the water; unpredictable and unforgiving. Most of all, he doesn’t share the best relationship with his father Ray (Tommy Lee Jones). Charlie, however, comes from a life of safety; rich family, good education, about to go to Boston University for law school. It’s a compelling rift between two brothers that Helgeland never fully explores.
Interesting Dynamics that are Never Realized
We begin the film with Charlie wanting to learn the ropes in fishing, and it’s never clear why. Though there is an on-and-off comradery between the brothers, there isn’t any tension or backstory that contextualizes their decision-making. As Charlie insists on wanting to learn fishing, going so far as to reject his lawyer father’s words of advice, you’re left wondering why, what he stands for, what he wants, and what he needs. He makes for a remarkably boring protagonist, and the uneventful first hour of the film does not help us care enough about him and his journey.
As we meet the fishing crew and see little bits of brotherly love being formed, there is still no narrative incident that changes their status quo or tests their character (as in their ethics). While I can admire Helgeland’s eye for detail in showing the step-by-step process of fishing and shucking scallops, the film just simply takes too long to introduce the stakes. This is a film whose first act consists of a boat explosion and a rescue out at sea; none of those things are the actual plot.
The actual plot is when Ray hands his personal boat, named “Finestkind,” to Tom, and Tom makes the egotistical decision to take the boat and crew into Canadian waters. Sure enough, they are caught, given a consequential fine, and the boat gets impounded. As fishing labor workers, the crew does not have enough money to pay the fines, and with no other option, they resort to crime.
This is the logline of the film. The premise when you explain what the film is about to someone else. The trailer that will be released. But by the time we get to this moment, the film is already past its halfway point and there’s only about 40 minutes left. Just when it’s about to start, it’s about to end. It’s truly a baffling error in writing, pacing, and structure.
Everyone Tries Their Damnedest
It’s such a soul-crushing disappointment when you compare the outline of story events in Finestkind with how they are executed on screen, because you can see everyone trying their absolute best to make the material work.
Foster continues his trend of fully inhabiting laborious men with shattered unresolved conflicts, because he doesn’t know how to fully communicate his feelings. No wonder why his father must be played by Jones, who confidently fits right back in the old quiet and detached man with nothing much to say (though there is one terrific scene where Jones gets to make whale noises).
Somewhere, deep within the laughable dialogue and implausible plotting, is a list of compelling ideas: There is a fascinating portrait of fishermen in northeastern America, for us to see how tough but rewarding that lifestyle on the ocean can be. There is also an urgent commentary on the shaky financial and economic standings for small towns in America, how blue collar workers are one incident away from seeing their life fall apart. There is even a flirtation about why it’s so easy to resort to crime and drugs, because it is typically the fastest answer to those who are financially struggling. Lastly, there is a compelling father-son storyline where Ray and Tom’s disconnect and misunderstandings are felt through their “Finestkind” boat.
All of these story beats are interesting on paper, but on the screen, they are scattershot with a ton of other scenes that either build to nothing or generate unintentional laughs. Two of the biggest dramatic moments are met with laughter in the audience due to a line of dialogue that is either out-of-place or just the wrong word choice. Jenna Ortega plays Mabel, an underwritten girlfriend character to Charlie, doubling down on an unconvincing drug dealer who becomes a bit more involved in the third act. A late appearance by Clayne Crawford as a gang leader may give the film some much-needed energy, but it veered the film farther and farther away from what it was in the beginning, a story about simple fishermen trying to live the good life. Even the score by the great Carter Burwell feels overused and overwhelming.
Finestkind: How to Survive a Shipwreck
Helgeland writes and directs Finestkind with all the right intentions. When we arrive at its triumphant ending, I imagined myself being able to cry to it if it were in a better script. It could’ve been a powerful emotionally cathartic moment if the rest of the film did more character heavy lifting. You can see from an outline point of view that the film has several good story elements and nearly all the pieces are in place. Most of all, you can feel that it’s a personal subject matter to Helgeland, and that every person in that cast believed in the story.
It’s just a shame that on execution, it’s all over the place, ranging from being uneventful to being unintentionally funny. Like its titular word that claims to mean anything depending how it’s said, Finestkind confuses universality with vagueness. Without specificity in character development, philosophy, or emotional stakes, any story – as well-intentioned and deep as it is – can become shallow.
Finestkind premiered at the Toronto International Film Festival on September 8, 2023. It will be released exclusively on Paramount+ in November 2023.
Watch Finestkind
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