Liam (Allan Mustafa) is a recovering drug addict whose life has been anything but simple. However, he’s been given a second chance; this is The Out that he’s been looking for. When he is given the opportunity to spend time with his daughter for the first time since being released from prison, he knows that he can’t mess this up. While obstacles still remain in front of him, he knows that being the best possible father to his daughter, Sofia (Savannah Skinner-Henry), is the most important thing.
Skipping really quick to the end, The Out concludes with beautiful music playing, filling the screen and transcending audiences. The orchestral sound that reverberates through the rooms in which viewers sit plays an integral role in how viewers receive the film as a whole. There are some cringeworthy moments throughout the course of The Out–and that’s not because they feel silly or unnecessary, but because they perfectly reflect some horrific things that happen in the real world. The score works in a couple of ways in these moments. Again, the score is beautiful–and it’s the final moments of the film when it really finds its footing, playing juxtapositionally to the struggles present in the film. While the film eventually concludes on a high note, mirrored by the score, the struggle that exists throughout is truly realized with that conclusion as well. Hearing the wonderful sounds as the film fades to black allows viewers to look back at all that has transpired–and it strengthens the meaning of every bit of the film.
At the heart of The Out is a story about the importance of parenthood, and all that comes with that journey. Mustafa is the most important part of conveying all that is parenting to viewers, and he does a brilliant job–constantly allowing his emotions to rise to the surface and the tone of each and every scene to be explicitly understood. He’s a strong actor, and he’s the catalyst for everything that happens throughout the course of the film–and his acting needs to be damn-near perfect as a result of this (and it is). The Out is full of emotion–and it’s often Mustafa that brings those emotions to life.
In the grand scheme of The Out, while there are obvious intricacies that exist throughout the course of the film, this is an incredibly simple project. I don’t know that it takes too much to understand what Liam and Sofia experience throughout the film, and that’s a good thing. I’m not in any way discounting the difficult process of making a film–because I know that it’s challenging. On the contrary, I’m trying to compliment how, through the challenges that surely arose during production, The Out is incredibly accessible. The situations depicted throughout may not always be ones that the masses have experienced, but regardless, Writer-Director Harry Brandrick creates this unease and urgency, one that easily resonates with viewers everywhere.
Brandrick’s attention to detail is impeccable–and that’s part of the reason why The Out is so accessible. He includes details like the use of reverse psychology in parenting, a child’s favorite toy, and the like–making it infinitely easier for viewers to understand what’s occurring on Liam’s journey.
The Out is a touching tribute to parenting and second chances, and how the two sometimes coincide with one another. While viewers are often able to see the bigger picture, the intricacies that exist throughout play a pivotal role in helping to develop the narrative, create relatable characters, and ultimately become accessible to viewers everywhere. Beyond that, The Out possesses a stellar score that both mirrors and juxtaposes the tone of the film at any given moment. The score is what makes the film as brilliant as it is–even with each of the other wonderful aspects existing throughout.
Written & Directed by Harry Brandrick.
Starring Allan Mustafa, Jamie Christofersen, Savannah Skinner-Henry, Kimberley Okoye, Ralph Berkley, etc.
⭐⭐⭐⭐⭐⭐⭐/10
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