Sydney Film Festival Review: 99 Homes

Andrew Garfield and Michael Shannon in 99 Homes

99 Homes is topical and unlike few films, its subject matter offers a practical relevancy, examining the fallout of the American housing bubble of the late 2000s. A lot of the more logistical discussion on how it all went down flew over my head, but the gist was clear: homes getting foreclosed on due to loans taken out--many of them that shouldn't have, but the lack of government regulation allowed them to go forward--coupled with the economic downturn put millions of Americans under water financially, leading to mass foreclosures.  A power and money hungry homebuyer Rick Carvey (a dastardly Michael Shannon) who knows how to game the system comes along, capitalizes on the situation--to to speak--and scoops houses up for cheap.  As construction worker Dennis Nash, Andrew Garfield plays one of his prey who initially out of desperation accepts a Faustian deal and the movie itself turns into a morality play: eat or be eaten.

Initially, the artificial roots that build the relationship between the two men is convenient but still quite fascinating, as Nash transforms from creating tangible things to a cog in another man's quest to screw the system. Only agreeing to their union provides an insight that probably wouldn't be possible narratively speaking otherwise.  For those that can follow along, it's a lesson of sorts, and director Ramin Bahrani keeps the story moving along at a riveting pace.  Building tension through Antony Partos and Matteo Zingales' score and the mechanics of Carver's business juxtaposed with the emotional collateral damage, the first hour is quite thrilling and unbelievable.  Also assisting is the strong cast with the dependable Garfield, Laura Dern (who plays his mother), and Shannon who delivers another memorable performance. His vocal intonation has the timber of a heartless Bill Hader as his real estate broker effortlessly plows through the film always trying to stay one step ahead. 

After establishing a solid foundation followed by a well-executed buildup, Bahrani pursues the allure and temptation of excess resolved with the redemption of virtue for a warm ending.  The agreement between filmmaker and audience is comprised causing the last third to feel hollow.  The conceit was so improbable to begin with, but easy to accept due to the smart construction and pertinence of its themes.  But, then, venturing off beyond the limits of this compact reality, the screenplay betrays this understanding.  Still, the overall experience is only slightly marred, and Bahrani is positing himself to be an emerging filmmaker to watch out for.