“Tuner” Review: A brilliant, engaging ability backed by Dustin Hoffman and the charismatic Leo Woodall

Only a few documentary filmmakers have been able to achieve such a stunning transition into dramatic films as Daniel Rohr, director of the documentary Tuner. An Oscar winner just a few years ago NavalnyRohr has now crafted an engaging blend of character study and suspense. The film was well received in Telluride and Toronto last year, and should find an appreciative audience in theaters and beyond. Plus, this film is sure to propel leading man Leo Woodall into the rare coterie of charismatic characters who also happen to be great actors.

Woodall plays Nicky, a pianist who worked as an apprentice to a veteran of the industry, warmly portrayed by Dustin Hoffman. Nicky has a hearing problem (essentially sensitivity to loud noises) that led to him abandoning his career as a pianist, but this illness has made him adept at hearing the slightest glitch in the piano keys. Although Harry Hoffman has the contacts, Nicky has the talent that makes him invaluable.

When Nicky encounters a group of small-time crooks, it turns out his hearing problems have given him another gift as a safecracker. Whether there really is a connection between these two professions may be left to the experts to decide, but the screenplay by Rohr and Robert Ramsay convinces us that Nicky is a damaged man with many hidden talents.

During his work, he also met a talented young composer and pianist, Ruthie, played by Havana Rose Liu, and Harry encouraged their romance. When Harry is hospitalized with a serious illness, Harry’s wife (wonderfully played by Tova Feldshuh) announces that Harry’s lack of business acumen has left him without money to pay his medical bills. So Nikki decides to contact criminal vault hackers to gain the money Harry desperately needs.

There is a touch of sentimentality in portraying Nicky as a generous soul without any desire of his own for a big payday. But Woodall is so charismatic and sensitive that we accept his inherent morality without much question. British-born Woodall has worked on several television series (including the second season of… White lotus) and had memorable supporting parts in the latest version of Bridget Jones, Bridget Jones: Boy crazyAnd in Nuremberg (He has one of the best scenes in the film, when he reveals his Jewish history to the psychiatrist played by Rami Malek.)

But this is the first time he has had to carry an entire film, and he has proven that he is up to the task. The scenes in which Nicky reveals his hypersensitivity to loud noises – such as when Ruthie accidentally forgets to turn off the screeching oven – are extraordinarily effective. Kudos to the sound designer, Johnny Byrne, for his crucial contribution. Will Bates’ score also helps drive the action.

The plot might get a little convoluted, with two rival gangs of crooks threatening Nicky, and a late but colorful appearance by Jean Reno as a classical music maestro searching for a missing watch lost during the Holocaust. Another memorable appearance comes from Herbie Hancock (playing himself) as one of the people who has benefited from Harry’s policing expertise in the past.

Rohr’s directorial skill is evident in making the most of short but telling scenes with all of these actors. Feldshuh is particularly energetic in convincing us of her character’s intelligence as well as her caring for both Harry and Nikki. Aided by Greg O’Bryant’s editing, the film speeds toward its satisfying conclusion, though one might criticize Rohr for a tendency toward smoothness that sometimes undermines the story’s serious underpinnings.

But there are no flaws in Woodall’s performance. If this film didn’t catapult him to superstardom, there would be little certainty left in today’s cinematic landscape.