Here is a film so on-the-nose and full of mucky sentimentality that Justin Chon’s “Blue Bayou” (09.17.21) stars Alicia Vikander and Chon himself as a married couple in small-town Louisiana whose lives get thrown into chaos when Chon’s character, Antonio, is snatched up by ICE due to his previously unknown issues with immigration.
Having been brought up into the US at the age of 3 and adopted by Americans, his fight against possible deportation is no doubt relevant to today’s zeitgeist, but topical resonance does not make a great movie.
It doesn’t help that Chon interjects his narrative with clunky subplots; Chon’s sudden friendship with a Vietnamese-American terminal cancer patient (Linh-Dan Pham), a rivalry with his wife’s former husband and the struggles he has to endure to maintain his job.
It’s all directed with next level self-importance by Chon, who broke out at Sundance 2017 with “Gook,” but he’s in over his head here. The screenplay is melodramatic, filled with cliches and strenuous moments that painstakingly try to activate our tear ducts.
It’s not like Chon is a bad filmmaker. There’s a nifty motorcycle heist (don’t ask) shot to tension-filled perfection, to the point where it almost feels as though the director is auditioning to helm the next Fast and the Furious flick. Alas, the emotional drama doesn’t work as well. There’s a climactic scene at an airport with various characters overacting and running to save Antonio from getting ICE-ed back to Korea. It’s all adds up to just too much.
Even if a story like this one deserves to be told, the way Chon hammers down his messaging and pat storytelling is as subtle as Paul Haggis’ “Crash.” [C-]
The short version: "Woman Unknown" was a compromise. The jury deadlocked over "Possible Love" and "NAZA," not able to com to terms, fell back on their #3, May el-Toukhy's film.