We Are Movie Geeks

Okay, the big Summer movie season somewhat officially kicked in last weekend with that unlikely but still dynamic duo of space adventurers from that galaxy far, far away. And though there’s a more “grounded” thriller that is defying box office trends (I suppose some are “obsessed” about its “upward mobility”), how about another “nail-biter” not involving the post-college crowd and a poorly thought-out wish? Mind you, this tale’s hero is in his late twenties, but possesses an “old soul,” and lots of baggage, including an affliction that aids with his chosen profession. And no, it’s not a spin on that Marvel streaming stalwart Daredevil. This morose man isn’t a crime-fighter, nor a career criminal, He’s merely a working stiff who’s an exceptional piano TUNER.

The audio “savant” in question is Niki White (Leo Woodall), who is the main employee (more of a co-partner and surrogate son) of his late jazz player papa’s BFF, Harry Horowitz (Dustin Hoffman). The duo dashes about the ritzy digs of the swells around the Big Apple in their ramshackle van, repairing and tuning pianos. Actually, Niki does the tuning since Harry is nearly deaf. But Niki also has an “auditory affliction” that makes him the “top of the craft”. He has hyperacusis, an intense sensitivity to sound. Niki must always wear noise-cancelling earplugs, which are augmented by big headphones while out on the street. Since Niki lives alone, Harry invites him to dinner made by his protective wife (and Niki’s surrogate mama), Marla (Tovah Feldshuh). When she scolds Harry for not wearing his hearing aids, he reluctantly confesses that he locked them in his small closet safe and can’t recall the combination. Being a “good son”, Niki takes the safe back to his apartment, where he watches a few online videos about “safe-cracking.” Thanks again to his “keen” ear, Niki can hear the tumblers click into place. The next day, at a job for a music conservatory, he tunes a piano for a stressed-out student, Ruthie (Havana Rose Liu), who is preparing a “showcase” piece to impress a renowned composer, scouting for an intern. The two engage in a bit of bickering flirtation. Later, Niki and Harry head to a fancy wedding ballroom that, unfortunately, is full of noisy construction workers. They’re on a deadline, so Niki agrees to return solo later that evening for the tune-up. All’s quiet, until Niki is stunned by drilling noises upstairs. He finds a “security” crew trying to open a safe (“for extra-security, y’know?”). In order to get back to his job, Niki uses his new “skill” to open it. The team’s boss, Uri (Lior Raz), is impressed, throwing a wad of money at him and an offer of more “work”. Niki thinks nothing of it until tragedy strikes, and he’s in need of extremely quick cash. Soon, he contacts Uri, who isn’t really a security company owner (no surprise), and agrees to be their “ear” if nobody gets hurt. How long can Uri and his “hairtrigger” gang keep that promise? And how will this impact Niki’s budding romance with Ruthie?

These unpredictable twists and turns are anchored by the steady, confident, low-key lead performance by Woodall. He’s made a name for himself with work on several streaming TV shows, though I caught his supporting work last year in NUREMBERG. This time he dominates the story, with Niki in nearly every scene until the intense final act. Woodhall gives us a new spin on the classic doomed crime noir hero, that reg’lar Joe sinking into criminal quicksand. Yes, Niki is stoic and “closed-off,” which zeroes in on his loneliness. His “gift” is more of a curse, making him feel like a true outsider, having to shield himself from the chaotic cacophony around him. Yet, he somehow makes a connection with Liu’s Ruthie, a different kind of outsider, as the pursuit of her art complicates all those personal connections. Yet, Lui conveys that same sense of yearning as she reaches out to the tight-lipped “tuner”. The big conflict comes from the ingratiating and sinister Raz, whose jocular demeanor masks a violent opportunist. While the “big draw” for many may be the casting of Jean Reno, who we don’t see until the pivotal reveal of that world-famous composer during the harrowing climactic moments. Reno has that errudite, effete attitude down until the sight of something brings him nearly crashing back to Earth. But the most notable screen vets are the caring couple supporting Woodhall’s Niki. The motherly warmth emanates from Feldshuh, whose caring concern is the tale’s moral backbone. Her “instinct” is at full alert as she sees a change in her beloved “big boy”. And, handling fatherly duties while mounting a considerable “charm offensive” is the effortlessly engaging Hoffman, who has been “sprung” from the “cancel” prison (yes, he did deserve a “time-out”) to give us another serving of his leading man (now scene-stealing comic character) charisma. I’m guessing another two-time Oscar-winning actor “serving time” is following this closely.

One of the film’s biggest surprises concerns the creative artist behind the camera, Oscar-winning documentary director (for NAVALNY) Daniel Roher, who co-wrote the script with screenplay vet (LIFE, BIG TROUBLE) Robert Ramsey. This is Roher’s first fiction feature, and he attacks this with energizing gusto. There are no big action set pieces, but he keeps the tension taut due to his steady pacing (he lets us really “get to know” the players), and the plot’s twists and turns. We know that Niki’s “side gig” will cause havoc, yet we root for him to “escape” this life and allow Ruthie in. His condition goes from being an odd “gimmick” or “hook” to morphing into another character. Big kudos to the stellar sound department, who plunge us into the intense audio world of Niki, making us feel his “pain” (an air horn is his Kyptonite). The location work is splendid, as is the score by Will Bates that weaves original classical tunes with jazz standards. Here’s a cinematic rarity, a quiet, engaging character study that keeps us on the edge of our seats. It’s a perfect way to spend a rainy afternoon, though don’t wait for it to stream on the tube. See it on the big screen, so others of its ilk can find a slot at the multiplex between the franchise blockbusters. Hate to use a pun, but TUNER just hits all the right notes.

3.5 Out of 4

TUNER is now playing in select theatres