Big Words

A spoiler light review of Big Words should begin with tone, because Neil Drumming understands exactly how this comedy ought to feel. Big Words gains early credibility from Dorian Missick, whose presence is balanced by the different rhythm of Suzy Jane Hunt. The foundation of Big Words can be stated simply: Members of a once promising hip hop group, now in their late 30's, struggle with regret, disappointment, and change on Election Night 2008. Within its 1h 33m running time, Big Words reveals both the benefits and the limits of that disciplined approach.

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The plot of Big Words is built around the uneasy relationship between Members of and Election Night. For Dorian Missick, that relationship gives Big Words an emotional objective stronger than simple forward motion. The screenplay associated with Neil Drumming lets the central character reshape the direction of Big Words in stages. Although the treatment of an important relationship could be sharper, Big Words never entirely loses the thread established at the beginning.

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The most useful technical choice in Big Words is well judged reactions, because it helps the audience understand both space and mood. Edgefield County Pictures frames Big Words through well judged reactions without letting surface finish replace character. Drawing on its United States background, Big Words uses performer rhythm to give familiar material a more specific texture. Cinematography, sound and editing meet effectively in Big Words whenever a sequence must feel large without losing its human scale.

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Dorian Missick gives Big Words its most dependable performance, finding a clear emotional intention beneath the plot. Opposite Dorian Missick, Suzy Jane Hunt brings Big Words a contrasting pace that prevents the central relationship from feeling flat. Gbenga Akinnagbe widens the ensemble of Big Words through reactions that suggest a life beyond the immediate scene. Neil Drumming serves the cast of Big Words best when a look or pause is allowed to finish before the story moves on.

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Big Words finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Dorian Missick, Big Words makes that examination feel personal before it becomes broadly symbolic. The idea of Members of repeatedly returns Big Words to the cost behind its more visible developments. Neil Drumming is most persuasive when Big Words allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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Neil Drumming gives Big Words a directorial line that is dependable even when the material becomes familiar from its opening promise to its final movement. The staging of Big Words is strongest when Neil Drumming allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Big Words confirms that familiar choices gain value from committed execution across most of the running time. A tighter version of Big Words would address how some developments arrive well before they surprise, yet the surrounding work remains persuasive.

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For comedy fans who respond to personality and timing, Big Words is ultimately a satisfying recommendation with minor reservations. Its most persuasive combination in Big Words brings Dorian Missick together with performer rhythm under the direction of Neil Drumming. The fact that some developments arrive well before they surprise prevents Big Words from being entirely seamless. Even with that reservation, Big Words has a clear point of view and enough genuine feeling to justify the journey.