Who We Are Now

A spoiler light review of Who We Are Now should begin with tone, because Matthew Newton understands exactly how this drama ought to feel. Who We Are Now gains early credibility from Julianne Nicholson, whose presence is balanced by the different rhythm of Zachary Quinto. The foundation of Who We Are Now can be stated simply: An ex con tries to get back custody of her son with the help of an idealistic young public defender and at the same time falls into a romantic fling with a traumatized former US soldier. Within its 1h 35m running time, Who We Are Now reveals both the benefits and the limits of that disciplined approach.

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At story level, Who We Are Now turns US and the central character into the source of its main tension. The role played by Julianne Nicholson becomes the viewer's route through Who We Are Now, especially when an important relationship begins to alter the situation. Matthew Newton gives Who We Are Now momentum by allowing choices to create consequences instead of treating each scene as isolated information. Even when a difficult choice pushes the plot toward familiar ground, Who We Are Now remains attentive to what that pressure means for its characters.

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Julianne Nicholson gives Who We Are Now its most dependable performance, finding a clear emotional intention beneath the plot. Opposite Julianne Nicholson, Zachary Quinto brings Who We Are Now a contrasting pace that prevents the central relationship from feeling flat. Jess Weixler widens the ensemble of Who We Are Now through reactions that suggest a life beyond the immediate scene. Matthew Newton serves the cast of Who We Are Now best when a look or pause is allowed to finish before the story moves on.

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Who We Are Now benefits from Matthew Newton being careful about tone and generally effective about what each sequence needs to accomplish. Instead of making every beat equally loud, Matthew Newton lets Who We Are Now create contrast between pressure and release. The film delivers more often than it misses throughout Who We Are Now, with the strongest decisions feeling connected to character rather than display. It is still fair to say that Who We Are Now suffers because the middle loses a little urgency, but the problem remains contained.

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Beneath its plot, Who We Are Now is most interested in communication, responsibility and the small choices that reshape relationships. That concern becomes visible through Julianne Nicholson, whose choices allow Who We Are Now to explore an idea without stopping for a speech. US gives the themes of Who We Are Now a concrete dramatic form rather than leaving them abstract. The emotional value of Who We Are Now grows whenever Matthew Newton trusts the audience to connect behaviour with the larger question.

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The craft of Who We Are Now is defined by close attention to expression, supported by close attention to expression rather than overwhelmed by decoration. No Place Like Films gives Who We Are Now a production framework in which music that leaves room for silence can remain connected to story. Made from a United States production context, Who We Are Now uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Who We Are Now works because image, sound and editing appear to be serving the same immediate purpose.

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Overall, Who We Are Now amounts to a likeable film whose strengths survive its limitations and should suit drama viewers who value performance and emotional detail. The combination of Julianne Nicholson, Matthew Newton and close attention to expression gives Who We Are Now a specific identity. Although the middle loses a little urgency in Who We Are Now, the film recovers through craft and committed performance. For the audience it understands, Who We Are Now offers enough character to remain worthwhile after the immediate plot has faded.