After a terrible air disaster, survivor Max Klein emerges a changed person. Unable to connect to his former life or to wife Laura, he feels godlike and invulnerable. He then meets another survivor who is racked with grief and guilt since her baby died in the crash which she and Max survived.
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What could have been only a story of grief and trauma, FEARLESS manages to also dramatize Dreyer's transcendentalism and Bergman's sobriety. There is a tension between writer Rafael Yglesias' investigation of faith in the modern world and Peter Weir's longstanding interest in human culture (LAST WAVE, WITNESS). But whenever this threatens to sublimate the core idea of man's futility, the superb craftsmanship redeems.
Weir often obscures the tragedy and distances us from it, finding a curious serenity in moments that ought to be chaotic and horrifying. He carefully draws our attention to the subtleties of nature, or the peculiarities of people, rather than the carnage itself. A film full of breezy, dreamlike trances that perfectly capture Klein's awakening and heightened awareness. A fascinating meditation on mortality.
2 1/2 out of 5 stars. Great premise with dull acting. I got a tad misty even if it was badly dated. Things went to hell once Jeff Bridges became the wacky Why Not guy buying Christmas presents for his dead dad & smashing his car into a wall and a lot of things (like the kid hanging at his house constantly) didn't get fleshed out. Young Benicio Del Toro was great though. Not a total waste, just don't expect much.
this movie could have been great based on its premise, but it's only the beginning and the end that seems mediated. There is almost nothing to appreciate but a redundant plot for the rest of the movie.