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He's Out There (2018)
6.8
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On vacation at a remote lake house, a mother and her two young daughters must fight for survival...
Light of My Life (2019)
7.3
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Parent and child journey through the outskirts of society a decade after a pandemic has wiped out...
Phillip McSween (751 KP) rated Light of My Life (2019) in Movies
Mar 10, 2020
Not Revolutionary But Decent
A father and daughter try to survive in a post-apocalyptic world where a virus has taken out nearly all of the female population. Light of My Life isn’t going to revolutionize post-apocalyptic movies, but I would say it’s a worthy addition. It makes you care and, more importantly, it makes you think.
Acting: 10
Casey Afleck is sensational in his role as Dad. You can feel the love he has for his daughter Rag (Anna Pniowsky) and see how torn he is between trying to be strong for her while trying not to break down himself. Pniowsky is solid as well playing the daughter. She reads the role with a defiant attitude, as a girl having to quickly grow up in a crazy world. They work perfectly together onscreen.
Beginning: 10
Characters: 10
Cinematography/Visuals: 6
Conflict: 6
Casey Afleck, also the director, effectively builds tension throughout the journey. However, there are a number of times where you expect something to happen and it doesn’t. Ultimately, the conflict wasn’t quite so strong as I would have hoped.
Entertainment Value: 5
Because not as much action is happening in a movie that’s almost two hours, my level of being entertained was up and down. I did find myself checking out quite a few times especially when it’s the rinse and repeat of finding a campground, scouting, and laying down for the night. I just wish there were a few more close scrapes to keep me guessing.
Memorability: 3
This type of movie has been done before on the big screen and in video games. Unfortunately there’s not quite enough here to make it stand out. Don’t get me wrong, it’s definitely not a bad movie. It just lacks the necessary oompf to be much more than “just ok”.
Pace: 6
Attempts to move steadily before it slows down to a crawl again and again. There is no sense of urgency in the film and it drove me mad at times. Would have been much happier with the pace had the runtime been shorter.
Plot: 10
Resolution: 6
Decent ending, but…just decent. I question the decision of closure. Like a lot of the other facets of the movie, I was hoping for more.
Overall: 72
Light of My Life made me smile at times, but infuriated me at times when I knew I was watching something that could be better. It’s a decent movie and a few tweaks would have really done the trick for me. Now that I’ve seen it once, it’s not one I need to check out again.
Acting: 10
Casey Afleck is sensational in his role as Dad. You can feel the love he has for his daughter Rag (Anna Pniowsky) and see how torn he is between trying to be strong for her while trying not to break down himself. Pniowsky is solid as well playing the daughter. She reads the role with a defiant attitude, as a girl having to quickly grow up in a crazy world. They work perfectly together onscreen.
Beginning: 10
Characters: 10
Cinematography/Visuals: 6
Conflict: 6
Casey Afleck, also the director, effectively builds tension throughout the journey. However, there are a number of times where you expect something to happen and it doesn’t. Ultimately, the conflict wasn’t quite so strong as I would have hoped.
Entertainment Value: 5
Because not as much action is happening in a movie that’s almost two hours, my level of being entertained was up and down. I did find myself checking out quite a few times especially when it’s the rinse and repeat of finding a campground, scouting, and laying down for the night. I just wish there were a few more close scrapes to keep me guessing.
Memorability: 3
This type of movie has been done before on the big screen and in video games. Unfortunately there’s not quite enough here to make it stand out. Don’t get me wrong, it’s definitely not a bad movie. It just lacks the necessary oompf to be much more than “just ok”.
Pace: 6
Attempts to move steadily before it slows down to a crawl again and again. There is no sense of urgency in the film and it drove me mad at times. Would have been much happier with the pace had the runtime been shorter.
Plot: 10
Resolution: 6
Decent ending, but…just decent. I question the decision of closure. Like a lot of the other facets of the movie, I was hoping for more.
Overall: 72
Light of My Life made me smile at times, but infuriated me at times when I knew I was watching something that could be better. It’s a decent movie and a few tweaks would have really done the trick for me. Now that I’ve seen it once, it’s not one I need to check out again.
Kirk Bage (1775 KP) rated Light of My Life (2019) in Movies
Jan 22, 2021
It is difficult to talk about Casey Affleck in a positive light as a movie-maker without mentioning the heightened media storm that surrounded him in 2017, at the time of #metoo and his own moment of personal glory in winning the Best Actor Oscar for his excellent performance in Manchester By the Sea. The Oscar was deserved, as was the criticism. The latter affecting the sweetness of the former entirely, and perhaps explaining why a recent Academy Award winner would be so quiet for the next 3 years.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.