Finestkind, which premiered at this year’s TIFF, is a movie that feels bloated and disjointed, with a promising premise and a strong ensemble cast. Directed by Brian Helgeland, the movie follows the lives of two half-brothers, Charlie (Toby Wallace) and Tom (Ben Foster), who are united by their shared interest in fishing but divided by their contrasting lifestyles. Charlie is a recent college graduate from a well-to-do family, while Tom is a seasoned fisherman with a strained relationship with their father, Ray (Tommy Lee Jones).
The film starts off strong, introducing us to the world of fishing and the camaraderie among the crew. The initial sequences are engaging, offering glimpses into fishermen’s laborious but rewarding lives. However, as the narrative unfolds, it becomes increasingly clear that the film lacks focus and coherence. There is a good concept at the core of Finestkind, but it seems to be bogged down by a lack of vision with no idea of what type of film it ultimately wants to be.
One of the most glaring issues with Finestkind is its script, which fails to provide a strong narrative backbone. The motivations of the characters are often muddled, making it difficult for the audience to invest emotionally in their journeys. For instance, Charlie’s decision to abandon his postgraduate education and pursue a life at sea is never adequately explained or justified, feeling more like the wants of a kid than someone genuinely looking to make life-changing choices.
“There is a good concept at the core of Finestkind, but it seems to be bogged down by a lack of vision with no idea of what type of film it ultimately wants to be.”
Similarly, Tom’s choices, especially his decision to venture into restricted waters, seem more like plot devices than actions stemming from a well-defined character. Where there could have been well-realized characters making hard life decisions, we have people who make snap life-changing judgments forging logic, making the film as a whole feel like an underdeveloped mess.
Supporting performances in the film do their job, but like the main cast, no character feels fleshed out or clearly focused. Jenna Ortega delivers one of the better performances in the film, but much like Charlie and Tom, nothing she does feels earned or driven by logic and often feels more like a plot device than a true character.
If this were not enough, Finestkind also suffers from pacing issues. The first half meanders without a clear direction, with characters just doing things and living their lives with no apparent purpose or direction. By the time the actual conflict is introduced, the film is already past its halfway point, leaving audiences to scratch their head and question how things got to this point. This results in a rushed and unsatisfying conclusion that leaves many narrative threads unresolved, with what little it does tie up feeling forced and unearned.
“Attempts at delivering a profound message fall flat, turning what should be poignant moments into unintentional comedy.”
If these issues were not enough, the dialogue in Finestkind is genuinely abysmal and often comes across as forced and unnatural. Attempts at delivering a profound message fall flat, turning what should be poignant moments into unintentional comedy. This is further exacerbated by the film’s score, which feels overused and overwhelming, often highlighting the dramatic beats in an awkward manner.
Despite these shortcomings, the cast of Finestkind delivers fantastic performances. Ben Foster, in particular, brings his role to life, providing depth to a character that is otherwise poorly written. Tommy Lee Jones also has moments of brilliance, especially in scenes where he interacts with Foster’s character. However, the talents of these seasoned actors are largely wasted due to the film’s weak script and lack of depth.
Finestkind does attempt to tackle some compelling themes, such as the financial struggles of blue-collar workers and the complexities of familial relationships. However, these themes are not explored in depth, making the film feel shallow and unfulfilling. I walked out questioning the true intentions of the story, feeling confused and disappointed by what could have been a tremendous film-going experience.
Finestkind is a missed opportunity. While it has the ingredients for a compelling drama—strong performances, an exciting setting, and a director with a proven track record—it ultimately fails to deliver a cohesive and engaging narrative. The film’s lack of focus, weak script, and pacing issues make it a disappointing addition to TIFF 2023. Much like its title, it’s a film that tries to be many things but ends up being none of them convincingly.
