When a film has a fairly solid cast or at least a cast with some star power and reputable names, this generally means there was a decent script attached to the project. This by no means guarantees a good final product.
Tomorrow You’re Gone features a well respected actor of smaller films in Stephen Dorff as Charlie Rankin, a recently released convict who is commissioned to finish a job for former cellmate William “The Buddha” Pettigrew played by Willem Dafoe. Soon after his release, Rankin comes to form an odd team with the mysterious actress Florence Jane who is for some reason extremely attracted to Charlie. After attempting to fulfill his commitment to The Buddha things go awry and out of Charlie’s control. He then decides to hit the road with Florence and right what he has done.
The film attempts to make an art house film out of what seems to be a simple criminal story. With unexplained undertones and symbolism, the films falls flat.
Areas where simple dialogue could prove useful to explain the scene, we are left to imagine for ourselves what could possibly be going on. This is not the only flaw with the almost irritating annoyance of the dialogue which seems to repeat itself and does nearly nothing to further story. It leaves one to wonder what the actors read that drew them to the film. Stephen Dorff is not foreign to playing a mysterious and dark character but his ability to do so is completely lost in the final outcome.
The massively long bouts of no talking and scenes that seem to go nowhere easily take one out of what the idea and outcome that are meant to be interoperated.
There are certain story lines that are meant to be art house stories and some that should just be straight up stories. It’s unclear to me which this should be.
It is no secret that not all films work on certain levels but Tomorrow You’re Gone doesn’t work on any level.