Whelm Review- A Unique Piece Of Indy Filmmaking

The directorial debut of writer/director Skylar Lawson is an ambitious, stunning piece of indy film-making. Whelm shouldn’t work. The historical reimagining period piece is a lot to take in. Bank heists, double-dealings, shootouts, and murders all take place in a tangled story. Two Midwest brothers Reed and August, get caught in the middle of a legendary bank robbery when a stranger named Alexander Aleksy comes to town. The story, which plays out slowly, is part cautionary tale, part twisty history lesson, and part thriller. Meticulously shot and well-acted, Whelm is the type of film you become invested in without meaning to. It is easily one of the most unique films in cinematic history. In a time where wash, rinse, repeat entertainment is the norm, Whelm will not disappoint with its story structure and fresh spin on the genre.

There is an indulgence to Whelm that, quite frankly, should be offputting. Yet, for reasons that escape me, I was transfixed by Whelm. The meandering, overly long, overly complicated story should have made the nearly two-hour-long film unwatchable. Strangely it wasn’t. The longer I watched, the more I was engrossed in the strange tale of lost brothers, gangsters, and historical figures. That was largely due to the contemplative narration delivered throughout by the dulcet voiced Dylan Grunn(Reed). He weaves the story together despite a complex structure that includes double-digit chapters and jumping timelines. The best writing in Whelm takes place in this voiceover which feels both genuinely thoughtful and deeply resonant.

Alexander Aleksy, played enigmatically by Delil Baran, is a highlight. He is a violent man with an endless well of mysteries swirling in his gentle eyes. He and Grunn’s Reed are the emotional heartbeat of this story, and I expect to see more of them in the future. The black hole gravity of some of the other characters, namely Grant Schumacher’s Jimmy, while still good, can’t compete with the ability of Baran and Grunn to chew scenery.

Cinematically Whelm is gorgeous. Sun dappled fields, lush forests, and tightly framed spaces are used to full effect. Interesting angles and rotating glamour shots focus the attention rightly on Reed and Aleksy despite the beauty of the setting. Shot on 16mm film in Indiana, the film feels like a much larger budget endeavor. Yet, nothing feels compromised in this richly conceived movie. Lawson’s ability to make something this impressive from so little makes him a director to watch for.

The score co-composed by Chris Dudley of Underoath and Lawson is as impactful as the videography. The post-hardcore Death Metal band, previously known as a Christain Rock band, has a decidedly different sound from the original score. As sweeping and intricate as the film itself, it is a smartly created piece of art that compliments the story. Swelling crescendos and held chords work with rather than against the action.

The resolution of Whelm is satisfying and truly unexpected. The full circle plot gets tied in a tidy bow that will leave a wry smile on your face. For history buffs, Whelm won’t disappoint. While the pacing is a problem and the complicated tale might challenge the impatient, the payoff makes up for the shortcomings. The Dillinger legend gets artistically bent but not broken. Those who are able to navigate the swelling tides of the intricate story are rewarded with a slice of slightly fictional Americana.

Whelm is on VOD August 13 everywhere you stream movies or in select theaters as part of a can’t miss event from Endrow Pictures that promises to be as unique as the film itself. For more information and showtimes, click here.