A convincing character piece dealing with the regressive effect of alcoholism on a previously successful man to the point of homelessness. The father-daughter role reversal of responsibility remains the main arc. However, it is the film's perceptive understanding of welfare systems within a metropolis, and the distinctive characters he meets in halfway houses that stand out. Filtered cinematography also adds to tone.
Pretty clearly a means to some kind of end unrelated to the actual performance of the actual movie, as the actual movie is so resolutely primed to avoid pleasing anybody. This is its strength. Who is the audience for this? People who want to be miserable and hate having their interest held in a ham-fisted manner? I find that commendable. Ain't nobody or nothin' likeable here. The eavesdropping style is kinda whack.
Oren Moverman and d.p. Bobby Bukowski began creating their trademark aesthetic (probing camera and edgy sound) with MESSENGERS, experimented more with RAMPART, and on TIME OUT OF MIND push things to a logical extreme. Even the stunt casting of Richard Gere works on a strange meta level— once successful and desired, he is now a "fuck up", a bum walking NYC streets. Impeccably made, lyrical, and often uncompromising.
This was rather hard to watch, in a sense that reality can be really hard to swallow. And that family is truly a significant part of our survival as human beings to society. Richard Gere is a tattered and broken soul, and he played his character so well, he didn't need many words. The long runtime wasn't really necessary though. For an emotional journey, I believe it could have done better half an hour less.