In On Our Way, Micheal Richardson plays the stubborn director who desperately abuses his acting girlfriend’s ideas to make a script for a romance thriller. After Philip (the son of Liam Neeson) finds out that his lovesick girlfriend (Curtis) is ready to go to his house, he gets increasingly perturbed. In a drastic shift to the modern timeline, the film revolves around Micheal Richardson and his love story with Jermaine Curtis. Curtis expresses herself as a young filmmaker who deeply struggles with depression and the never-ending obstacles that come with acting. Clearly, Curtis bundled many storylines into one with the hope of invoking a certain emotion, but whose eclectic, impairing ideas rather feel like faint memories of anguish. The film is incredibly suffocating and gives the viewer little to no hope of being cathartic. It certainly fails to deliver a promise of overcoming the heap.
The combination of despair while figuring out how to piece such dreary ideas together is suffocating and intensely perplexing. Because On Our Way debuted at the Tallinn Black Nights Film Festival, the fact that it was met to be ironic and entertaining proves why it took such a harsh critique. Curtis seems to aim to attack the eyes of many youngsters scouting for some lowkey entertainment. As a Noderi’s Magic Lantern star, it serves Curtis international fame, aided by peers who also attended Brady Corbet’s Vox Lux and Childhood Of A Leader. Curtis does look promising while endorsed by Redgrave, Brewster, and Dale to lose her head in bewilderment.
While some people may argue that the gloomy overtone will serve those who want to wallow in self pity, Philip draws the line. No one makes sense watching an actor blue and screaming before them, instead of feeling pitiful. Rather, seeing him slowly amend his actions over a script and lifting cheerfully may just do the trick.
Next, we see Henry, now older, casting for his upcoming movie Lost Boy of South Fork, which is based on his life. He has only just met Rosemary, but has already decided that she is to play the female lead alongside him, and they are to fall in love during filming. While in the present Henry and Rosemary are taken to a dreamlike state where they are sitting on a beach during the night, looking at televisions that show split screens of their life while they were filming Lost Boy Of South Fork.
As Curtis states, the film is an impressionistic assemblage of the writer’s memories through her parent’s pictures. It paints specific themes that Curtis attempts to gain closure on. One cannot help but feel pity for Henry as he desperately searches for contentment by doing something therapeutic. At times, when Henry is filming scenes of Lost Boy of South Fork, he is reminded of his childhood when in the movie, Brewster is playing his mother, and Dale is in the role of his lazy father. In a sneak peek, Curtis teases us with the message of blossoming hope amidst dark times, portraying a world with unfiltered pain and heartbreak. It comes as no surprise that Curtis’s obsession with her subjectively frenetic, restively creative life leads to On Our Way.
While they are still compelling ideas, the shifts from one narrative to another, while engaging at first, tend to feel disorganized and painstaking.
(Henry’s attempts to make “Lost Boy Of South Fork” extend beyond the flashbacks in the movie his present-day script claims to be named “On Our Way” which supposedly details the events that took place during that production.) The frequent time jumps have had a detrimental impact on Curtis’s capability to depict Henry’s struggles in detail. Additionally, Richardson’s sullen acting does little to distinguish this character from countless other fictional filmmakers who wish to escape their painful reality, only to be let down by their art.
As Rosemary, Curtis displays a certain gentle charm that likely explains Henry’s obsession with her as a muse and why her abrupt exit from this life later on fuels his anguish. However, the headaches that stem from producing projects like “Lost Boy Of South Fork” on a shoestring budget are not dramatized in novel ways. (A bit too broad for a financier is Paul Ben-Victor, who so absurdly tries to impose his final cut, claiming he will only pay if I shoot a different ending.) The film fails to provide satisfactory answers to all the questions raised during it Where did Rosemary go? Is Henry going to be celebrated after the release of his movie? The answers turn out to be disappointing. The notion of needing to nurture one’s inner child is crucial, but “On Our Way’s” presentation appears to be overly simplistic.
Hints of the obscure double meanings concealed in this exploration of a film’s power to exorcise the creator’s demons, only to break their heart is present even with the surprise appearance of Micheal Richardson’s actual grandparents, Vanessa Redgrave and Franco Nero, who play Henry’s still-in-love grandparents.
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