Photo via IMDb
By Keith Walther | Rose Law Group Reporter
The concept of a misguided but good-hearted young man falling in with the wrong crowd is nothing new, however, the execution carries a few unique surprises that make this film worthy of attention. “Tuner” is a crime thriller that also incorporates some romance and even a bit of comedy to lighten the mood. The story is somewhat formulaic, but the technical aspects of the filmmaking process are sure to impress and keep it interesting.
Under the tutelage of the affable piano tuner Henry (Dustin Hoffman), Niki (Leo Woodall) develops a pitch perfect ear for the profession himself. Niki has a unique condition called hyperacusis that makes him allergic to loud sounds, forcing him to constantly wear noise cancelling headphones. He discovers this gives him a superpower that allows him to quickly and easily crack safes. When his mentor/father figure lands in the hospital with an ailing heart, Niki turns to the criminal underworld to help pay Henry’s already sizable medical bills, not realizing that once he’s in, it’s next to impossible to get out.
Interestingly, the film is co-written and directed by Daniel Roher, who has only ever been a documentarian, even winning an Oscar for his compelling 2022 documentary “Navalny.” As talented as he has shown to be in that field, he proves he might also have a knack for fiction with “Tuner.” Sure, this is a fairly common story that’s been done before, but Roher dresses it up by giving the protagonist this strange hearing condition. He then allows the audience to hear from his perspective to create a sound-driven narrative that enhances viewer empathy. Using Dolby Atmos, the director gives viewers the full auditory experience, shifting from normal clarity to distortion to eardrum ringing overload. This fosters a uniquely visceral experience that needs to be heard as much as it needs to be seen. The score further complements the main character, featuring classical music and lively jazz to emphasize his work as a piano tuner.
Roher’s experience as a documentarian can be seen in his cinematography choices, using intense close-ups to enhance the intimacy and focus required for the main character to perform his job both as a piano tuner and as a safe cracker. He also moves the camera kinetically, quickly darting to keep pace with the narrative, which also drives the energy of the movie. Unfortunately, the number of jump cuts he employs can be distracting at times, giving the narrative a disjointed feel that undermines audience attachment and distorts reality.
While there are pockets of well-orchestrated tension and suspense, Roher stretches belief a little too far that weakens the story’s foundation. For instance, all these high-end robberies are depicted but there is zero trace of police activity or even an open investigation. Without that fear element of the main character getting caught, the suspense is severely limited. Then the climactic turning point is a bit too farfetched and overly convenient. Roher also undercooks the romantic subplot, making that feel disingenuous and trivial.
For British actor Leo Woodall, this is a performance to build upon that is sure to open the door to future starring roles. The cool and calm demeanor he instills in his character gives him this captivating patience that holds viewer’s attention even when he’s not saying a word. There’s even a subtle sadness he carries in his eyes that denotes a rich backstory and appeals for understanding even when he becomes a criminal. His confident line delivery, swagger, and undeniable screen presence should yield a fruitful career ahead.
Having the great Dustin Hoffman as a screen partner certainly doesn’t hurt, even if it is in a limited capacity. Hoffman is largely responsible for the comic relief early in the film. He embodies the New York surliness and directness mixed with a grandfatherly appeal of a storyteller who will bend the ear of anyone willing to listen. And the audience listens, hanging on every word and wishing for more scenes with the two-time Oscar winner.
As a comparison, you’ll immediately think of “Baby Driver,” but there’s also a little Apple TV’s “Your Friends & Neighbors” mixed in with it. “Tuner” plays a familiar song but adds a few notes of its own to make it feel less derivative. As an auditory experience, it’s worth seeing in a Dolby Atmos theater, but as a visual experience, it’s better suited as a worthy streaming option at home.
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