Nonton Film Hearts Beat Loud (2018) Full Movie
Nonton Film Hearts Beat Loud (2018) Full Movie Sub Indonesia
If you recently saw the new vise-grip horror film Hereditary and thought to yourself afterward, “sure, that was great, but it’s almost summer! How about something lighter?” you are in luck. Grab Hereditary star Toni Collette’s hand and let her guide you over to Red Hook, Brooklyn, where the summery, wistful new dramedy Hearts Beat Loud (opening in a wide release June 15) lays its scene. Collette will soon let go of your hand and recede into the background—she’s only a supporting player here—but don’t worry, you will be well taken care of. That’s how I felt, anyway, when I saw Hearts Beat Loud as something of a post-Hereditary cleanse at the Sundance Film Festival back in January. How fortuitous that you can now repeat that ritual here in June.
Hearts Beat Loud comes to us from director Brett Haley, whose most recent films are the elder dramas The Hero (with Sam Elliott) and I’ll See You in My Dreams (with Elliott and Blythe Danner, who also has a small role in Hearts). Much respect to a young filmmaker who has an uncommon care for and interest in seniors, not something you see all that often outside of, well, horror. But watching Haley’s sensitive earlier films, I’d grown curious about what he might do was he to turn to something a bit greener, more steeped in the patois of today. Hearts Beat Loud satisfies that curiosity in graceful and gentle fashion; it’s a father-daughter drama with a light touch, its breezes, and sighs flecked with music.
Maybe “flecked” isn’t strong enough a word. The musician Keegan DeWitt composed the score and several original songs for the film, which is partly about a dad, Frank (Nick Offerman), and his daughter, Sam (Kiersey Clemons)—both still grieving the wife and mother they lost years ago—writing some music together before Sam leaves for college. The songs are lovely, particularly the title track, a melancholy little thumper that’s played several times yet doesn’t wear out its welcome. We hear the soft seams of the song’s imperfections, its inexact adolescent yearning, and are carried away by the earnestness of it all, reveling in the warm sting of change, so riotous and frequent a feeling in adolescence.
In that way, the larger movie is much like the song. Sure, it’s just the tiniest bit mawkish here and there, but that clumsy sentiment only makes it all the more endearing. Otherwise, Hearts Beat Loud is subtle in its emotional language. Haley, who wrote the script with frequent collaborator Marc Basch, keeps his story intimate enough to be manageable, while gesturing toward big things: death, love, leaving home. As Sam prepares to head off to California for school (she’s an eager pre-med student beginning classes early), Frank faces the closing of his record store, which he’s been the proprietor of since Sam was a baby. There’s a neat allegory there, about ceding authority and stewardship. But really, a child flying the nest is probably a big enough life change that saddling Frank with this additional milestone just seems like piling on.
Ah well. Offerman sells us on Frank’s weary solidity, despite that extra dramatic burden. I’ve never been quite sure what to make of Offerman; before I’d gotten the chance to really suss him out as an actor on Parks and Recreation, his character had been consumed by the meme makers, and it became difficult to separate the Ron Swanson cult of personality from what Offerman was actually doing on the show. Here, though, his appeal is clear. He’s shaggy and winning as a stubborn, loving dad slowly turning to face an uncertain future.
But the real star of this thing is Clemons, so natural and expressive, whether speaking or singing. In addition to settling up the parental tab with her dad, Sam is embarking on a brief, blushing romance with an artist named Rose (Sasha Lane). The girls know it can’t last—Sam is longing to escape her native New York, while Rose came to the city to escape somewhere else—but they fall into each other nonetheless. Hearts Beat Loud isn’t an aching story of doomed love, but it does nibble at something real and acute. “We’re not gonna get to have this, are we?” Rose asks in one bleary scene. Which is such a nice, poignant distillation of the balmy heartbreak of things at that age, lives leading us excitingly elsewhere, at the cost of a few good things where we already are. Sigh.
I could continue waxing nostalgically about growing up and moving out because this film puts me in that kind of mood. But instead, I’ll just say that Hearts Beat Loud is an effervescent little pleasure, a quick 97-minute trip to a calm and pensive fantasy Brooklyn. (I mean, maybe Red Hook really is like that. I’ve only been there twice. It’s so hard to get to!) The film has great music—particularly the one earworm that somehow does not turn sour the longer it lingers in your head—and it’s got, Toni Collette! How could I forget our dear friend Toni, who brought us here? What a relief, to see her in flowy skirts, flirting with Nick Offerman instead of screaming and screaming in a house of horrors. There she is: happy enough in Brooklyn, where hearts are blessedly still beating—eager, and bright, and just the right volume.