‘Magic Hour’ Review: Katie Aselton Directs and Stars With Daveed Diggs in an Uneven Marriage Story

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Katie Aselton‘s fourth directorial venture leaves viewers yearning for spoilers, as it provides insights but also reveals too much. The main event unfolds about 20 minutes into this subtly acted yet transparent drama that revolves around a couple seeking solace in the desert to reconnect and envision their revised future. Katie portrays Erin, whose emotions swing unpredictably between melancholy and contentment at first. Daveed Diggs embodies Charlie, exuding charismatic warmth and an even-keeled demeanor. However, if Charlie appears overly perfect, it’s because he isn’t.

Lena Dunham’s films encompass “The Freebie” (2010), often considered her finest work and a unique take on marriage stories, as well as the more recent “Mack & Rita” (2022) featuring Diane Keaton. Unfortunately, this film was a critical disappointment and wasn’t written by Dunham herself. She showcases her talents and indie background in “Magic Hour,” where she directs both herself and the other actors to deliver genuine, endearing performances.

Erin’s mood swings soften as we understand her struggles during this crisis, and Aselton skillfully navigates the character’s numerous transformations with elegance. Diggs, on the other hand, handles a more challenging role flawlessly, convincingly portraying Charlie’s charm and unending patience. If anyone could be perfect, it would be him. Charlie’s cheerfulness amplifies the impact when he and Erin argue, and his anger stems from her constant blame for something he never desired. Aselton and Diggs effectively utilize the relationship narrative in scenes that grow increasingly heartfelt as the story progresses. Their emotional bond maintains the film’s connection to reality, even during instances where events seem undeniably unrealistic, such as someone falling off a cliff without a single scratch.

In Aselton’s story co-written with Mark Duplass, themes of loss, grief, and moving on are reminiscent of numerous other films. Once the twist unfolds, the subsequent course becomes predictable. The dialogue is skillfully crafted and convincing, but the movie often falls short in attempting to transcend its overused plot lines.

It’s unfortunate that this place is so good, considering all the great aspects it has. Sarah Whelden’s cinematography is stunningly vibrant, with its intense, sugary hues setting a surreal atmosphere that mirrors the story’s exploration of reality and illusion. The question arises as to how much Erin has romanticized Charlie, given this portrayal. Scenes featuring expansive desert landscapes underscore the couple’s separation from the outside world and the harshness of the sun’s glare.

Brad Garrett intermittently appears as Erin’s longtime friend, providing aid and access to his secluded home in Joshua Tree (Arielle Ness-Cohen’s set design makes the house look appealing). Susan Sullivan injects vitality and a touch of humor into her role as Erin’s mother, who attempts to assist in the kindest, yet misguided, frustratingly ineffective manner. However, it seems that these secondary characters are introduced primarily to keep the narrative of Magic Hour from transforming into a film centered around just two characters.

Despite its short duration of 1 hour and 20 minutes, the movie occasionally seems extended with close-up shots of flowers in nature and various montages. One such montage shows Erin’s drag queen companions attempting to lift her spirits by dressing her up in a drag costume and makeup, serving as a message about empathy but coming across as contrived. Conversely, a scene where Erin competes in a go-kart race with her friends is more successfully suspenseful and skillfully edited to build tension.

At times enchanting yet occasionally bumpy, “Magic Hour” can leave you yearning for an element of unpredictability.

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2025-03-10 21:54