Train Dreams became the little movie that could, winning three out of its four nominations at the 41st Film Independent Spirit Awards last month. The lumberjack elegy was named Best Feature, Best Director (Clint Bentley), and Best Cinematography (Adolpho Veloso), losing only Best Lead Performance (Joel Edgerton) to Rose Byrne for her turn in the tragicomedy If I Had Legs I’d Kick You. While victorious within the indie circuit, can these economy vehicles cross the finish line at Sunday’s Oscar ceremony?
On March 15, viewers of the 98th Academy Awards will likely see Best Picture go to either One Battle After Another or Sinners. However, Veloso (the first Brazilian nominated in the cinematography category) retains a fighting chance. The same cannot be said for Byrne, who will almost certainly witness Jessie Buckley complete a season sweep for Hamnet. So, are these low-spirited Spirit winners worth a watch?
Train Dreams
Directed and written (with Greg Kwedar) by Clint Bentley
Train Dreams (2025) proves a good book does not a good movie make. Based on Denis Johnson’s same-named novella from 2011, this Terrence Malick-imitation follows the somber saga of logger and railroad laborer Robert Grainier (Joel Edgerton) in America’s Great Northwest.
Although the story is set at the turn of the 20th century, Grainier is blessed with presentist morality—presumably because writers Clint Bentley and Greg Kwedar assume today’s viewers cannot contextualize historical views. The writers may not think audiences can think for themselves either because they spoonfeed nearly every action, feeling and location via overbearing narration. This is the lowest form of book-to-movie translation. As story consultant Robert McKee (Brian Cox) tells aspiring screenwriters in Charlie Kaufman’s Adaptation (2002), “Any idiot can write a voiceover narration to explain the thoughts of a character.”
The real McKee elaborates on this malpractice in his book Story: Substance, Structure, Style and the Principles of Screenwriting (1997) wherein he says using narration throughout a film “threatens the future of our art.” According to him (and common sense), a screenwriter’s primary job is to dramatize exposition rather than blatantly stating it.
Of course, there are exceptions—specifically when narration is used to subvert the visuals. David Fincher employs this to ironic effect in Fight Club (1999) and Gone Girl (2014). Similarly, the cynical voiceover in Billy Wilder’s classic Sunset Boulevard (1950) is sharpened by the fact that the narrating protagonist is already dead.
While a sardonic tone wouldn’t necessarily work for Train Dreams, the film may have seemed less like an audiobook if Edgerton’s character reflected on his life instead of using a detached, omnipresent narrator (Will Patton). Shifting the perspective to Edgerton’s voice doesn’t solve the movie’s verbal-to-visual redundancy, but at least it gives the gifted lead more dialogue. As it stands, the film’s only spark comes from a few brief exchanges with an offbeat old logger played by William H. Macy.
Surprisingly, the poorly-written script scored an Oscar nomination for Best Adapted Screenplay. Train Dreams also nabbed a Best Picture nod along with a deserved one for Best Cinematography. Yes, the natural landscapes are as remarkable (in a good way) as the narration is remarkable (in a bad way). Consequently, the audience experience is akin to being held captive by touring relatives who over-explain their pretty vacation pics. Nevertheless, this Netflix flick can currently be streamed or seen on the big screen at Cinemark and Marcus theaters.
If I Had Legs I’d Kick You
Directed and written by Mary Bronstein
It was a total joke when Rose Byrne won the Golden Globe for Best Actress in a Comedy or Musical. Not because her performance isn’t excellent, but because If I Had Legs I’d Kick You (2025) is about as funny as a root canal. The so-called dark comedy better fits into the anxious drama, psychological thriller or even body horror genres as it follows Linda (Byrne), a therapist on the verge of a nervous breakdown.
Like the women in Marielle Heller’s Nightbitch (2024) and Nora Fiffer’s Another Happy Day (2023), Linda is caving under the pressures of motherhood. In fact, her world literally crashes down when her ceiling breaks open. If that’s not problematic enough, her unnamed and unseen daughter (Delaney Quinn) appears to suffer from ARFID (Avoidant Restrictive Food Intake Disorder).
At least, that seems to be what’s happening unless the film’s surreal quality is suggesting it’s all metaphorical. Perhaps Linda is in a coma and that’s why her husband (Christian Slater) can only be heard. Maybe Linda is actually the one being fed through a tube since she’s often seen shoving food down her throat. It’s as confusing as the title. Who doesn’t have legs? Is it the daughter or the soul Linda regrets aborting years ago? Why is Linda’s therapist (Conan O’Brien) wearing so much makeup? And who knew A$AP Rocky was such a good actor?
While Bronstein’s onscreen maneuvers effectively frustrate viewers to convey the pressures women endure off-camera, the approach becomes tedious as the film wears on. Had this been a 40-minute short, its message would be impactful. But at nearly two hours, this feel-bad film isn’t for the faint of heart—or average HBO Max streamer.
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You can hear Janet discuss Oscar prospects with radio host Gary Zidek of The Arts Section on WDCB 90.9/90.7 FM on Sunday morning, March 15.