Swan Song, 2021.
Written and Directed by Benjamin Cleary
Starring Mahershala Ali, Naomie Harris, Awkwafina, Glenn Close, Adam Beach, Lee Shorten, Dax Rey, Nyasha Hatendi, JayR Tinaco, Luke Camilleri, Jessica Hayles, Mikayla Lagman, and Shema Cayden.
SYNOPSIS:
In the near future, Cameron Turner is diagnosed with a terminal illness. Presented with an experimental solution to shield his wife and son from grief, he grapples with altering their fate in this exploration of love, loss, and sacrifice.
There’s no shortage of fascinating high concept sci-fi ideas in Benjamin Cleary’s Swan Song, but it would be an understatement to say they are explored poorly. Set some time in the near future, dying artist husband and father Cameron (Mahershala Ali excelling in dual roles) debate whether or not to allow a state-of-the-art technological corporation to replace him with a clone. The caveat is that he cannot tell his family, quickly drawing up some intriguing moral questions that the film essentially has no interest in dissecting. At one point, Glenn Close’s one-dimensional scientific leader stresses to Cameron that his family doesn’t get a choice, which is fine considering there are villainous overtones to her character, but what’s truly baffling is that the script seems to want viewers to agree that this is the only way and that it is a decision Cameron should only get to make.
Instead, Benjamin Cleary uses Cameron’s last days and the early interactions with the family from his clone to take a closer look at their fractured relationship, which became distant after an accident took the life of his wife Poppy’s (Naomie Harris) twin brother Andre (Nyasha Hatendi), leaving her depressed and him unable to communicate through that. Here, there is a somewhat engaging stretch as the clone somewhat patches things up, which causes a different kind of inner pain in the real Cameron, pondering his misguided approach to the relationship following Poppy’s grieving.
While that works, Swan Song overall has an overly cloying touch that uses this story as a series of plot points rather than digging deep into its characters, unfortunately rendering much of what happens uninvolving despite the terrific performances on display Mahershala Ali and Naomie Harris. The former has a difficult challenge, mainly presenting the same character with the same motivations and subtle personality differences. Meanwhile, Glenn Close is given nothing to work with, causing her to chew some scenery as Dr. Scott, coming dangerously close to an antagonist label, which feels out of place considering the corporation here, while ethically questionable, is not intended to be so. All of this gives way to Cameron going back and forth in his mind on whether or not he wants to go through with this deception. And if he decides not to, the clone will be quickly terminated. On the one hand, Poppy might see through the façade, but once stated that she would have loved to keep her mom around using this science. Ultimately, the film makes no compelling case for why this can’t be a joint decision.
Visually, Swan Song is a mixed bag of slick, clean, pristine, futuristic production design (entire walls become TV screens where Cameron can watch over his clone’s interactions with his family until he passes), but world-building elements such as hologram video games come packaged with cheap CGI and even lamer art direction. Still, more aesthetic ideas dazzle more than ones that simply look funky and dated. Cameron also meets cancer patient Kate (Awkwafina proving once again her dramatic side is as talented as her comedic chops), organically striking up a bond over confronting death and what they are doing to their respective families. In the end, it’s another plot thread that doesn’t register much, but Swan Song is always far more enjoyable whenever it’s letting the characters interact as humans instead of with corny dialogue, contrived plot turns, or emotional manipulation. The cast assembled is so worthwhile that its confounding aggressively sentimental was Benjamin Cleary’s choice of tone in the first place.
Thankfully, Swan Song doesn’t try to get twisty or get carried away with pointless subplots involving the cloning corporation, opting for a straightforward ending that is surprisingly moving. However, it’s nowhere near enough to make up for several missed opportunities for truly thought-provoking sci-fi.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com