It is hard enough to be a parent who must grieve over the death of a child, but there is something especially crushing about losing a child, and not knowing anything about their fate, where they are, if they’re even alive. That’s what Darlene Hagen (Anna Gunn) has dealt with through the disappearance of her teenage daughter for 20 years. While the disappearance continues to loom over her life, things largely have returned to some sense of normalcy, as we find her getting things ready for an upcoming Christmas celebration with a little help from her best friend, Gretchen (Janeane Garofalo).
However, when she is alone, she gets a surprising visit from someone from her past. It turns out to be her estranged ex-brother-in-law, Jack (Linus Roache). While the visit feels odd, she welcomes him into her home, and the two get to talking, reminiscing, catching up. But the mood takes a turn when Jack makes it clear he comes with intention. He has something he needs to talk to her about. Something very serious, something that has to do with the missing daughter, and something that makes him clear all the kitchen knives from Darlene’s reach before he says a word.
I feel like that might even be giving away too much, but I’ll hold off there to avoid concrete spoilers. Let’s just say, there is not much fun to be had for either Darlene and Jack through the night, I’m sure you can figure out the basic idea. Unfortunately, since I am not giving away the big spoiler, there is not really a whole lot to talk about. Not a lot happens in the film, the story is very simple and straightforward, and it doesn’t do much to steer in any weird or unexpected directions. The premise is very much the plot.
The central conflict between Darlene and Jack is compelling, and both performers are doing a fantastic job navigating some big and gut-wrenching emotional journeys. It keeps things watchable and engaging enough to keep you invested, and seeing where it goes, even if takes the most basic way to its conclusion. It’s almost as if this was adapted from a short story. I would also argue the film overall would have been far more effective as a short film, or even a play. Not that it even feels dragged out or far too extended, it just doesn’t have much going on beyond what we experience in the moment, and the themes regarding justice and revenge were given the short-shrift because it only covers them superficially.
I wouldn’t call The Apology bad because I was quite engaged by the film, and when the dynamic between Darlene and Jack finally revealed itself, I was very much hooked, and was eager to see how things would go. This is the feature directorial debut from filmmaker, Alison Star Locke, and as far as debuts go, it’s perfectly rock solid. Despite some of the thin writing, there are some nice details she is able to throw into the characters, or at the very least, bring out of her performers. She knows how to create a tense and foreboding atmosphere, which is greatly emphasized with the winter storm that is happening outside the home. I just wished that, considering we have a film that was already coming in at a fairly brisk hour and a half, she would have taken more opportunities to flesh out her ideas more, give the film’s bones a bit more meat. As is, it’s thinly conceived, but still thoroughly watchable thanks to some effective direction and strong, lived-in performances from its cast.
The Apology is now out in select theaters, and streaming on Shudder and AMC+.