The kind of filmmaking excitement that director Peter Weir brings to movies is bone deep. It doesn’t emerge in the flashy flourishes that come off as compulsively exhibitionistic — the “Dude, Where’s My Camera Car?” school. Instead, in the potent and dream-like The Way Back , Weir’s subtle control is evident by the way he uses sound, embracing the allure and menace it simultaneously evokes. And we’re reminded how crushingly obvious many directors are about incorporating the aural aspect of their work; generally when the audience is aware of it, it’s used like a blunt object by horror film directors.
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REVIEW: Director Peter Weir Returns Via Bold, Bumpy Way Back
