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"Sharp Corner" tells a story about a man and woman with a small child who move to a country house outside the city—well, that's how the couple thought of it. While the price was reasonable, the couple could not have predicted the truth on their first night. The house is set about a one-kilometer’s walk from the road, which is flanked by tall grass fields. They barely used them, but the routes take worthy points off the overall picturesque landscape off the housing unit.

There are quite amusing set up and taken down roads for cars, one of which takes place right where the couple’s house sits, but the angle of the acute angle is in serious question. For a thirty seconds, they need to reach from the house to the main road, route planing is almost unimaginable. The couple however are worried if the road contains any vehicles as there route planing is meant for car containing highways packed with cars and peoples vehicles. Without a car hammering down strings of delightful concepts, all the likely driving scenarios planned capping the several lanes into cruise lanes actually become benign.

A family gets destroyed mentally after the first crash but, emotionally becomes numb with the corners of death traps across the road. Each crash drives them nearer to isolation, leaving behind the allure comforts of a house they once called home. Sather, Ben Foster’s character, becomes obsessed with the next crash he wants to prepare for, saying he will help anyone who survives. Sather isolates himself from reality, while his wife is forced to move the house just so their family can have a peaceful life. Their son Max, a well-loved sweet child, becomes corrupted the violence and torque having to use pieces of toys to recreate broken crashing, leaving his childhood behind.

You may be thinking, “It seems like a good movie, but no thanks,” and that’s totally okay. The movie is a very meaningful piece of storytelling. What really creates an emotional impact in the story is Josh, the main character, and the way his life undergoes a drastic and deep transformation – not at all in a soothing manner. Every person has a deep-seated urge to save others around him, which indicates that the person trying to save others does have inherent and redeeming qualities, making him a potential hero. The person who had initially tried to be the hero in this case was Josh, and he ended up tailoring his entire life trying to prep for what he believed would be an absolute certainty: a train crash. He went as far as taking prep CPR classes and even buying his own training dummy. Besides everything else, he also crashed the funeral of one of the crash victims.

“Sharp Corner” tracks Josh’s transformation with a blend of empathy and clinical detachment. Foster’s performance grounds the character in plausible humanity. He very much appears, as he always does, like a man dealing with some terrible ordeal; not as a sociological specimen or archetype of modernity’s malaise. The film is about a lot of things. One is what we do, as a society, with the understanding that death awaits us, along with everyone we know, and there is nothing we can do to predict or prevent it.

Foster, who is one of the most acknowledged performers in contemporary cinema, is incredible in what may be the most unexpected of his performances in recent years. He features a look that makes him a perfect candidate for playing violently vicious characters, whether savagely brutal (“Alpha Dog”), nobly aggrieved (“Hell or High Water”), dutiful but emotionally wounded (“Leave No Trace”), or instinctively noble in ways that the character is too unsophisticated and self-unaware to realize, (“Galveston”). The driving imperative of the character here is to heal, rather than destroy or kill, which places this performance on a different wavelength than so many others.

Another something that stands out is that Foster seems believable as a man who has never thrown a punch in his life, despite all the crime thrillers he’s done. Josh has an awkward gait, a potbelly, and poor body alignment. He is balding at the crown. His voice is quiet and somewhat whiny. He can seem calm, but his calmness can feel judgmental. Somehow, people presume he is self-important even when he isn’t, which is strange. His shy demeanor may be viewed as strategic politeness, and sometimes, that is true.

Josh is deeply disturbed by the boy’s death. He and Rachel throw a dinner for couples from the old neighborhood. Josh shows off the makeshift shrine to the victim of the first accident the family witnessed to their guests. We even saw him messing about with social media when he should have been working in his office. But after dinner, Rachel scolds him. She claims he is trying to pass himself off as morally superior as he drags the table into a bleak monologue which is a clear violation of the intended theme. She calls him, “smug.” Is he? Or is it just the way he presents himself?

Smulders matches Foster’s precision and concentration, though she begins to fade when Josh’s frenetic energy ramps up and down overtakes his increasingly poor decisions. To be fair, she doesn’t know all that he keeps hidden, like the discomfort he feels, his EMT training things, and more importantly, all his feelings about their life together. Rachel loves Josh but she’s starting to think she can’t live with him. He is failing to succeed professionally, making awful decisions in parenting, and their child. Something has to give.

Are they meant to part ways? All of these knowns and unknowns are at least suggested in the hints of their pay attention frame, no one scene, including the therapy ones, spells anything out.

In this film, everything from husband and wife verbal confrontations, to husband and wife conflicts, to family scenes and all other dialogue skeps, all remain believable and real without verging into too absurd territory. What they say to each other day to day isn’t particularly witty or intellectual, but that’s fine. It's more like the words of these kinds of people, not these types of people which is the case here. Conversations blend into the background and are rarely heated except during extreme situations. Yelling and raising their voices is something they actively try to avoid doing. Their son’s perception of a home should be the opposite of unpleasant, so they kept their tone of speaking non-threatening. Still, their utterances feature little pieces of passive aggression that children may not recognize for what they are, such as when Josh says, "Maybe now’s the time we bite the bullet and get a second car," and Rachel when he is picking her up says, "Are you saying that because I’m a few minutes late?" She explains why she believes this to be the case. In fact, he insists, but he's telling the truth and we know that.

Besides its careful dissection of a family in turmoil, “Sharp Corner” is striking for its thoughtful compositions which packed great detail into its frames at varying depths of field and allowed us to choose were to gaze. The camera does move quite a bit, mostly in slow motion, and always with a purpose: to hide or reveal some piece of information or fill us with dread. Mid-seventies American New Wave is the feeling of Guy Godfree's cinematography. Its rich and clear in the dark scenes but not overly pretty. Each shot is crafted to make you feel that you are living in this little world. The geometry of the shots and the placement of sound markers are so precise and varied with purpose, that you start to feel as though you’re living in that house and know when everything is fine and when there is trouble. The sound design is brilliant and as the story progresses, fresh perspectives are revealed. After some time, you can gauge the speed of the incoming vehicle simply by hearing its sounds.

The progression in Stephen McKeon’s score moves from melancholy to mournful and culminates in a magnificent lament. It seems that horns come in and grow louder as the tension is heightened and the situation becomes increasingly desperate. Much to fathomless grief, Howard Shore’s scores for David Cronenberg and Carter Burwell’s for the Coen’s are the very same that pained my soul. What is presented on the screen seems trivial in the wider context, sometimes almost absurdly misguided, but the music finds sycophantic splendor in it, even turns somewhat ironically into a requiem for those whose lives corrupted and distorted beyond recognition—they themselves, a cruel twist of fate, or both.

Have you watched the film by Steven Spielberg that depicts everyday Midwesterners being haunted by UFO encounters, and a miracle-in-the-making vision as they go about their day, “Close Encounters of the Third Kind”? If not, you should. It's a strange notion, but “Sharp Corners” would complement “Close Encounters” as a double feature, not because the films are similar in any way (despite some angles in which Foster resembles Dreyfuss and vice versa, and both featuring scenes where a maniacal father attempts to prevent his family from abandoning him as they drive off), but because both stories portray people with a build-up that, for some reason, extraordinary events happen repeatedly only for them to respond with total devotion to their work. In Roy’s case, he fabricates sculptures to elucidate his visions and in Josh’s, he goes as far as to take a lifesaving course where he practices CPR. Both men stay awake all night over a stagnant view of a road, waiting for something to happen.

Such an incredible, underappreciated masterpiece. Every decision lands perfectly.

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