Human Capital (2020) Movie Review | Screen Rant
Meyers' disjointed approach to Human Capital expertly weaves its story into a gripping mystery that's further elevated by exceptional performances.
When it comes to storytelling, there are two different ways that a narrative can be constructed. A linear narrative is what's most commonly used, seamlessly gliding from beat to beat and keeping its story fairly straightforward. Non-linear narratives, on the other hand, place the story beats out of order, allowing for the viewer to piece together the film's cinematic puzzle all on their own. Nowadays, auteurs such as Christopher Nolan have been regarded as a top-tier example of a non-linear storyteller, but this structure dates back long before he came on the scene and simultaneously dazzled and confused audiences with films such as Memento, The Prestige, and most notably, Inception. In fact, non-linear storytelling first struck a chord back in 1941 with Orson Welles' beloved cinematic classic, Citizen Kane, and has only garnered more popularity over the years. Many filmmakers have experimented with this structure, but very rarely do they successfully hit the mark. Thankfully, Marc Meyers' latest feature finds a comfortable groove in the non-linear story structure (though not as elaborate or intricate as non-linear storytellers of yore). Meyers' disjointed approach to Human Capital expertly weaves its story into a gripping mystery that's further elevated by exceptional performances.
Human Capital is a remake of the similarly-titled Italian film by Paolo Virzì that released in 2013, which was originally based on the novel by Stephen Amidon. The film centers on a number of individuals that are all brought together one night after a hit-and-run takes place. Although it's unknown who committed the crime, it's clear as the film goes on that there is more unraveling under the surface than meets the eye. The first individual audiences are introduced to is Drew (Liev Schreiber), a real estate agent with a bad history of gambling who's now in search of a way to handle his many debts. Thankfully, his daughter Shannon (Maya Hawke) is dating the son of a wealthy businessman named Quint (Peter Sarsgaard), and Drew seeks an opportunity with him to invest.
Unfortunately, Drew's financial woes strike a new chord as the investment takes a turn for the worse. At this point, the narrative begins to shift to new perspectives with Quint's wife, Carrie (played by Marisa Tomei), taking the spotlight. Sadly, Carrie is molded into a trophy wife stereotype right off the bat, with very little wiggle room left for her to expand as a character. Her spoiled lifestyle overshadows the unhappiness she clearly feels in her life and marriage, leaving her complexities to the wayside in favor of progressing the over-arching narrative. When she finds her opportunity for fulfillment in the form of a dilapidated cinema in town, it's quickly shot down when Quint's hedge fund takes a dive, setting the distressing stage for the film's main events.
At this point, Human Capital shifts gears to focus on the teenagers at its center along with the main hit-and-run storyline. Hawke truly dazzles as the sassy, resentful, yet full-hearted Shannon. Oren Moverman's script expertly weaves her storyline into ones previously introduced, and at this point, they mesh together seamlessly. Hawke's nuanced performance brings Moverman's words to life, proving yet again that she's a force to be reckoned with in this industry. Even Alex Wolff, who portrays her sullen boyfriend Ian, delivers an electrifying, layered, and unforgettable performance once introduced to the story. The two bring newfound suspense to the film as it tightens its story and zeroes in on its main focus, elevating tension to an all-time high as the biggest secrets begin to unravel.
These moments building into the film's third act is where it reaches the greatest of heights. As answers are soon brought to life, so to do emotions begin to boil over, like a kettle that's been heating up a little too long. The faint whistle slowly builds into a deafening scream, as tensions overflow and finally mount towards a gripping and satisfying third act. With Hawke and Wolff leading the final charge, Human Capital makes great strides as it sprints towards the finish line.
However, it's not just Hawke and Wolff that provide interesting layers to Moverman's script. Sarsgaard also brings plenty of complex emotions to light as the devious Quint. There is never a moment when these characters, in particular, feel one dimensional. As for the remaining side characters, very rarely is something memorable enough brought to the table for them. The script only manages to flesh out certain performances, and while those ones are thrilling to watch, many of the remaining characters are set on a path leading straight towards dead ends. Tomei's performance, in particular, is capped off all too soon. It's difficult to see a character start off with such ambition and strength, only to be whittled down to the trophy wife archetype she took on from the get-go. The same goes for Schreiber's Drew, a character whose growth is so short-lived, it's ultimately forgettable.
For these characters, in particular, it would have been wonderful to see them explored a little further, and it's clear that Tomei and Schreiber were fully prepared to dive deep into the emotional psyche of these individuals. However, these narrative decisions don't weigh the film down enough to make it unlikeable. In fact, Human Capital's energetic boosts sprout from Hawke and Wolff, especially as the film narrows towards its big reveal in the end. Moverman's script coupled with Meyers' direction may not have gone to monumental new non-linear heights to get its thrilling story across, but it's still intriguing enough to reel the viewer in and leave them satisfied by the end.
You can check out our exclusive clip from Human Capital, below:
Human Capital hits select theaters and On-Demand this Friday, March 20. It is 95 minutes long and not yet rated.