A city teen who travels to Montana to go hunting with his estranged father only for the strained trip to become a battle for survival when they encounter a grizzly bear
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★★★★ review by KholisNu on Letterboxd
“Petualang ayah anak yang menyentuh hati.”
Pelan namun indah, itu lah Walking Out. Menggambarkan betapa rasa takutnya David yang takut kehilangan ayahnya yang dia tidak begitu menyukainya. Perlahan tapi pasti dia mulai menyayanginya bahkan beberapa scene cukup menyentuh perasaan. Yang di gambarkan saat David secara tertahti menggendong ayahnya, menyuapi ayahnya dan raut wajah yang sedih dan takut saat ia sempat tersesat.
Over All, Enggak bisa ngomong apa-apa untuk film ini. Hampir satu jam hanya untuk meperkenalkan karaternya. Baru setelah itu masalah mulai muncul. Yang unik dari Walking Out adalah masalahnya itu munculnya gitu aja. Terus bagaimana David berjuang untuk pulang ditengah hutan yang penuh dengah salju. Belum lagi dia harus menggendong ayahnya yang mengalami kecelakaan.
★★★★ review by Jordan on Letterboxd
★★★½ review by Mark Dujsik on Letterboxd
At some point, every son must carry his father—in old age, on account of illness, or, in a more figurative sense, as a memory. Walking Out, a delicate story of fathers and sons that happens to be set in the harsh and frozen woods of Montana, takes that idea quite literally. At a certain point, a son has to deadlift his father and walk with the man on his back for miles, in order to keep both of them alive. How it comes to that is almost irrelevant—a series of frightening moments, an instance of unthinking curiosity, a blameless accident with a rifle. The point is how the film uses that action as an extreme circumstance for a survivalist drama, but it's also how the film uses that image as a metaphorical culmination of the relationship that writers/directors Alex and Andrew J. Smith have been studying until that point.
See my full review at Mark Reviews Movies.
★★★½ review by Grant Meuers on Letterboxd
I feel like this has and might continue to fly under the radar. It's a really compelling exploration of nature, familial bonds, and the pitfalls of toxic masculinity. It has really, really strong performances from the two leads, especially Josh Wiggins, exceptional and natural as the son half of the father-son central relationship. There're some flashbacks concerning the dad's childhood that aren't particularly elegant or interesting, but the story he tells turns out to be narratively important and they ultimately coalesce into an emotional payoff. Not sure they needed to be there (along with a kind of distracting Bill Pullman), or at least featured as prominently, because the writing is strong -- as is Bomer's performance -- and it's really the son's movie. Ultimately, though, its most brutal moments are its best, and the work with animals (a mix of real, CG, and taxidermy, apparently), the pacing, the performances, and really, the storytelling, cohere into something worth seeking out.
★★★½ review by Chris Vallée on Letterboxd
Hilary Swank hasn't aged a day since 1999.
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