Chances are, random dudes you meet in the desert, aren’t going to be the ones to trust in actual society.
Famous Hollywood writer Thomas (Garrett Hedlund), is conflicted about his life so, one day, he decides to get up and leave his mansion, French girlfriend, and money behind, to venture out into the desert for some peace and solidarity. However, while in the desert, Thomas realizes that he may not actually be alone in this huge desert – in fact, he may actually be being followed. This is when Thomas meets Jack (Oscar Isaac), a drifter who says that he’s a director, but at the same time, doesn’t really seem all that convincing when he says that. He and Thomas, despite the obvious awkwardness of the whole situation, have a solid conversation about life, death, Jesus Christ and the devil, but it becomes all too clear that there’s something off about Jack that Thomas doesn’t want to be around. So, that’s why Thomas decides to leave the desert, as well as Jack behind; which, as a result, makes Jack very angry and forced to follow Thomas all the way to his glitzy and glamorous home life, leading to some very bloody, very violent results.
William Monahan, nearly a decade ago, wrote the script for the Departed and he could have stopped right there. Already, he had given each and every person on the face of the planet something that they wanted, loved and adored, and right then and there, Monahan could have packed his things up, got all of his money together, and head for the hills, never to be heard from or bothered again, but knowing that he did something right for society. But seeing as how Monahan is, first and foremost, a creator, he decided to make Mojave which is, most definitely, a whole heck of a lot different from the Departed in many ways.
Of course, though, what Mojave does have similarly to the Departed, is that both movies feature big, rough, and tough guys being, well, big, rough, and tough.
And honestly, for the longest time of Mojave, there’s a lot to enjoy in just watching that happen, especially when the two said guys in question are Oscar Isaac and Garrett Hedlund, two young talents that are so well-deserving of every role they’re given. Seeing as how both are actual friends in real life (as well as co-starred in Inside Llewyn Davis), it makes sense that they feature wonderful chemistry together, just playing off of one another and testing each other to their limits; the same is definitely said for their characters who are, randomly, at odds with one another for reasons we never fully know or understand. However, there’s still a feeling you can get watching these two pals act alongside one another, and just knowing that they’re having a great time watching as the other works the field, so they say.
Which is why, had Mojave just been a two-hander of these two talking about whatever the hell they wanted to talk and swinging their dicks around, it probably would have been a whole lot better, tighter and enjoyable. However, because Monahan adds on so much more than just these two going to battle with one another and leaving it at that, it becomes messy and we forget what makes the movie so strong in the first place: Isaac and Hedlund. While neither loses any sense of charm or presence in the proceedings, they still get pushed too far to the back so that Monahan can run wild, say whatever he wants, and do weird things that nobody expected, but nobody really needed to see, either. Monahan gets mixed-up in his own ideas where, one side of him wants to make this mono-e-mono thriller between these two colorful characters, but on the other side, wants to talk about Hollywood and everybody in it is a terrible, mean-spirited and disgusting place that nobody should ever get caught up in.
Wow, where have I heard this before?
Clearly, Monahan’s not working with any life-changing, ground-breaking themes or ideas and it sometimes calls into question just how odd this movie can be. Mark Wahlberg randomly shows up a coked-up, over-the-top and wild Hollywood agent who is, definitely fun, but still doesn’t add much to the whole movie; Walton Goggins shows up as a Hollywood executive who is about as dead-spirited as they come; and yeah, then there’s a whole murder investigation that never seems to escalate, but still bring these two guys closer. Monahan brings up a whole lot of stuff here, but because he’s both the writer, as well as the director, there’s no holding back in just where Mojave can, and will, go.
Still though, it’s Hedlund and Isaac who make this movie work the most and it makes sense why they’re given the most to work, for better as well as for worse. Hedlund is, once again, playing up that whole brooding-angle he always shows and does fine with it. While Thomas, the character, may be limited in how much we actually care or get to know about him, Hedlund shows that there’s something of a soul underneath it all and it makes us sympathize with him just a tad bit more, even if we don’t really care either way where the story goes, or who ends up getting the ax.
But Isaac is perhaps the one having the most fun here and it’s great to see him just live every bit of this material up. In a way, as Jack, Isaac livens this material up a whole lot more than it probably should have been, as he’s not just funny, but more thoughtful than the movie may have called for. He’s got a lot to say about faith and Hollywood, or whatever, but he’s also got something to say about Hedlund’s Thomas, and it’s these revelations that I found most telling. While Monahan has a bone to pick with Hollywood, he still has a point in saying what he says, which makes me wonder why he’s making movies as conflicted as Mojave, and isn’t giving it his all again like he did with the Departed all those years ago?
The world may never know, but we wait and wonder.
Consensus: Hedlund and Isaac are great, however, Mojave‘s odd plotting and themes don’t always come together in a cohesive manner, that gives them the movie they wholly deserve.
5.5 / 10
Photos Courtesy of: Indiewire