Tuner
[Showtimes and trailer at Tropiccinema.com]

Director Daniel Roher, who excels as a documentary filmmaker (Navalny ), takes a suspenseful turn in fiction with “Tuner.” Despite its mainstream conventions, reminiscent of “Marathon Man” (a struggling man with a gift is pitted against a heartless villain), Roher gives his material first rate suspense which swells with empathy and feeling.

Niki (Leo Woodall) is a piano tuner working with the aging Harry (Dustin Hoffman) who is somewhat of a folk hero to piano lovers. Portrayed by Woodall, Niki has a casual nonchalance like Brando or James Dean. Niki is a musical prodigy but he was born with hyperacusis, a rare disorder that causes severe physical pain when he encounters loud noises, it also gives him hyper-sensitive hearing.

When Harry experiences a medical emergency, Marla (Tovah Feldshuh) confesses that they need money to cover expenses. 

One day when at work, Niki inadvertently crosses paths with hard criminal Uri (Lior Raz) who tells him he is a security guard.

Niki believes him. Noticing his preternatural ability regarding sound, the thug offers him a job cracking safes. 

Niki consents, wanting to help Harry now desperate in the hospital.

Niki supposedly finds his niche, a sense of belonging and a chance meeting with his future love Ruthie (Havana Rose Liu) a promising composer.

When Niki cracks safes pertaining to Bitcoin and Rolex he soon realizes that the stakes might be too high.

Niki is the adhesive to the story, a true underdog fighting against the odds and persisting in goodness despite the chaos and danger surrounding him.

Uri, simply put, is the man you love to hate, brimming with intimidation and menace. His attraction to violence recalls villians like Jack Wilson (Jack Palance) in “Shane” and Christian Szell (Laurence Olivier) in the forementioned “Marathon Man.”

Liu is also warm and vivacious as Ruthie, the perfect love interest. 

The iconic heavy Jean Reno appears this time in an understated role.

Music is central to the film featuring virtuosic pieces by Marius de Vries and some entrancing, standalone piano playing by Liu and Woodall themselves, although semi-edited here for affect.

Yes, the film contains some high Hollywood drama in keeping with other good versus evil films, but the charm, spirit and great charge expressed here along with its soaring and serious music will exhilarate the senses and have you pining for a piano.

Write Ian at ianfree1@icloud.com

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