"Master Gardener" boasts an intriguing title; it conveys a sense of expertise, craftsmanship, and perhaps even a hint of mystery. It's a fascinating choice that leaves the audience pondering what lies beneath the surface of the movie, effectively hooking viewers and sparking their curiosity right from the start. And while the concept of a film about an adept horticulturist doesn't seem immediately appealing, when the words "Written & Directed by Paul Schrader" grace the screen, one quickly realizes that appearances can be deceiving.
In Schrader's signature fashion of crafting films about enigmatic loners with mysterious histories, "Master Gardener" unsurprisingly delves into this very concept. Finding himself in the employ of Sigourney Weaver's Norma Haverhill, a wealthy, haughty, and snooty woman who coincidentally happens to be the owner of a prestigious garden, Joel Edgerton plays Narvel Roth - a gardener - who utilizes his love for gardening, journaling, and stoicism as means to bury his enigmatic past. Alas, the tranquil world of Narvel takes an unexpected turn with the arrival of Maya, brought to life by Quintessa Swindell; Narvel finds himself tasked with training Maya in the intricate art of gardening, all while grappling with the possibility of a budding romance between them. And as the master of crafting stories centered around tormented individuals, how does Schrader let his expertise shine in "Master Gardener"? In short, he doesn't.
"Master Gardener" epitomizes the essence of a slow burn; if you were to look up those words in the dictionary, you might very well stumble upon a poster of this movie. With a runtime of one hour and 51 minutes, the film drags and plods along, and during my viewing experience I was questioning whether I had somehow crossed over to the afterlife only to find myself trapped in an eternal viewing of this movie that refused to conclude. And normally, I don't mind lengthy films, and a runtime of under two hours typically signals a promising sign... or so I thought. However, in the case of this movie, it becomes evident that its duration doesn't equate to a substantial narrative, meaningful themes, or engaging storytelling, even when the hook of the movie is revealed.
Without divulging the ultimate theme of the film, I must admit that it is undeniably provocative. The thing is, Schrader fails to explore it as deeply as a film of this nature inherently demands. Ripe with possibility, the movie simply never becomes more than what it presents itself to be; characters are what they are, with no growth or development (other than, arguably, one scene in a motel room that is, truly, the cringiest and most uncomfortable scene I've had the displeasure of witnessing in recent memory). There's no internal struggle, no strife, and even when glimpses of drama or conflict arise, the film swiftly changes direction, refusing to delve into or further explore these elements.
Furthermore, "Master Gardener's" dialogue is some of the worst I've heard in a theatrically released film, period. Unnatural, stiff, and unbelievable, characters engage in forced and rigid conversations that defy the realm of human expression. And, in turn, the performances suffer. Everyone in this movie is a fine actor, but you wouldn't know that if this was the first movie you've ever seen them in. The poor script took me out of the film, consistently failing to engage me in a story that should have been more riveting than it is.
Ultimately, "Master Gardener" presents genuinely unique ideas that can make it worth a watch for some. And while I'm impressed by the audacity Schrader displays by venturing into the territories that this movie does, I'm left more disappointed by the film's failure to push beyond those boundaries. Schrader should have been firing on all cylinders, presenting a daring and unapologetic film; instead, he plays things unbelievably safe, seemingly afraid to fully explore the themes that he himself has written.
In Schrader's signature fashion of crafting films about enigmatic loners with mysterious histories, "Master Gardener" unsurprisingly delves into this very concept. Finding himself in the employ of Sigourney Weaver's Norma Haverhill, a wealthy, haughty, and snooty woman who coincidentally happens to be the owner of a prestigious garden, Joel Edgerton plays Narvel Roth - a gardener - who utilizes his love for gardening, journaling, and stoicism as means to bury his enigmatic past. Alas, the tranquil world of Narvel takes an unexpected turn with the arrival of Maya, brought to life by Quintessa Swindell; Narvel finds himself tasked with training Maya in the intricate art of gardening, all while grappling with the possibility of a budding romance between them. And as the master of crafting stories centered around tormented individuals, how does Schrader let his expertise shine in "Master Gardener"? In short, he doesn't.
"Master Gardener" epitomizes the essence of a slow burn; if you were to look up those words in the dictionary, you might very well stumble upon a poster of this movie. With a runtime of one hour and 51 minutes, the film drags and plods along, and during my viewing experience I was questioning whether I had somehow crossed over to the afterlife only to find myself trapped in an eternal viewing of this movie that refused to conclude. And normally, I don't mind lengthy films, and a runtime of under two hours typically signals a promising sign... or so I thought. However, in the case of this movie, it becomes evident that its duration doesn't equate to a substantial narrative, meaningful themes, or engaging storytelling, even when the hook of the movie is revealed.
Without divulging the ultimate theme of the film, I must admit that it is undeniably provocative. The thing is, Schrader fails to explore it as deeply as a film of this nature inherently demands. Ripe with possibility, the movie simply never becomes more than what it presents itself to be; characters are what they are, with no growth or development (other than, arguably, one scene in a motel room that is, truly, the cringiest and most uncomfortable scene I've had the displeasure of witnessing in recent memory). There's no internal struggle, no strife, and even when glimpses of drama or conflict arise, the film swiftly changes direction, refusing to delve into or further explore these elements.
Furthermore, "Master Gardener's" dialogue is some of the worst I've heard in a theatrically released film, period. Unnatural, stiff, and unbelievable, characters engage in forced and rigid conversations that defy the realm of human expression. And, in turn, the performances suffer. Everyone in this movie is a fine actor, but you wouldn't know that if this was the first movie you've ever seen them in. The poor script took me out of the film, consistently failing to engage me in a story that should have been more riveting than it is.
Ultimately, "Master Gardener" presents genuinely unique ideas that can make it worth a watch for some. And while I'm impressed by the audacity Schrader displays by venturing into the territories that this movie does, I'm left more disappointed by the film's failure to push beyond those boundaries. Schrader should have been firing on all cylinders, presenting a daring and unapologetic film; instead, he plays things unbelievably safe, seemingly afraid to fully explore the themes that he himself has written.