Take a linear narrative, throw in a dash of chaos, and you end up with Hesher, a film that debuted at the Sundance Film Festival in 2010 but didn't see an official theatrical release until 2011. Playing with the person-helps-grieving-family storyline we've seen countless times, this is one of those indie dramas that assembles a cast of well-known actors and allows them to branch out from what's expected of them. The story, whether good or bad, functions as an opportunity for actors to play against type in a way that a typical mainstream movie wouldn't allow. Hardly a surprise, Hesher opened to mixed reviews with the majority of praise going to the actors and the majority of complaints going to the script and film itself. Well, with performances of this caliber and a story that is stronger than it has been given credit for; this film is actually quite successful.

T.J. (Devin Brochu) and his father Paul (Rainn Wilson) have recently suffered a traumatic loss that leaves them living with T.J.'s grandmother (Piper Laurie) and retreating into depression. T.J., who has found himself frequently tormented at school, becomes reclusive from those around him, while Paul wanders around the house in a prescription drug-induced daze. One day, T.J. stumbles upon Hesher (Joseph Gordon-Levitt), whose name and presence seem to be accompanied by the music of Metallica. In a classic example of deus ex machina, Hesher appears out of nowhere, with no back-story, and no reason to be in the film. He looks like a Grunge-era reject, drives a beat-up old van, has an upraised middle finger tattooed on his back, and seems to embrace chaos. He's also indifferent to societal rules; willfully disrespectful, vulgar, and violent. Despite T.J.'s protests, he moves into T.J.'s house and no one seems to care. During this time, T.J. meets Nicole (Natalie Portman), a young woman who captures his attention but turns her own attention to Hesher.

There are some inconsistencies in the script, particularly in regards to the title character. There is no logical reason for him to be in this film and his entire existence is disconnected from everything around him. The writers struggle to stay true to this strange character as he seems abnormally out-of-this-world one moment and like a human being with feelings and a conscience the next. It's a predictable move for this film to shape him from an ominous, violent thug into a caring, gentle soul; but luckily Gordon-Levitt is a gifted enough actor to make this transformation believable. Levitt crossed the threshold from child actor to real actor long ago, so there's no need to provide further proof about his acting ability. Regardless, Hesher is a great character role despite the inability of the film to define just who/what the character is. Once Levitt appears in character, it's impossible to take your eyes off him and who else but Levitt could make Hesher's speech at the end reach such a level of comic poignancy? Aside from Hesher, who is only truly developed from the performance rather than the script, the characters here are very well-developed and are brought to life marvelously.

This is the second time this year that Wilson has branched out from his Office character to prove what a gifted actor he is. There's very little humor in his character, giving Wilson the chance to stretch his acting muscles and bring Paul through a seamlessly convincing character arc. Brochu is a gifted young talent who brings some real, convincing emotional depth to the character of T.J. and Laurie, as the grandmother, is a lovely addition to the cast.

Hesher is an unapologetically weird little film that is destined to be misunderstood by most audiences. This little oddity of an indie drama is dark and violent, but ultimately sweet and hopeful and even funny at times. By the time Hesher reaches the end of his character arc, it's all a bit contrived, but, call me crazy, I was quite fond of it. It plays with a traditional formula, isn't afraid to take chances, and boasts some very memorable performances. It's no masterpiece, but it's an enticing, satisfying film that kept me glued to the screen for its entire running time.

GRADE: A-

Hesher, like its titular character, is a bombastic, pitch-black, nihilistic and more or less repugnant film...that is not to say that it is not sometimes quite enjoyable. It is very well shot but not flashy and Levitt, as always, is reliable. Rainn Wilson stretches his acting muscles slightly, donning a grizzly beard, some lethargic sweats, and making us forget all about the kooky flair of 'Dwight.' Natalie Portman is fine in a role that could have largely been played by anyone, save a scene near the end when she brings a little more personality to her character symbolically. The real star of the film however is young TJ (Devin Brochu), who is equally agitated and enamored by Hesher, a force of black-metal nature who infiltrates his life with manic jams, bi-polar explosions and enough profanity to make John Waters wince.
This film is tenaciously vulgar, Hesher streaming vile language to a desensitizing degree. He even ends once exchange by saying. "One more thing--" before letting loose a giant fart. Shakespeare, this is not. However, there are several moments of rare and affecting poignancy sprinkled throughout scenes of selfish, useless destruction. The burnt/smashed cars, intimidation, etc etc are all anchored by young Brochu's mourning for his dead mother. Scenes involving the mother's car ring true and are welcome respites from Hesher's non-stop barrage of, well...Hesher. Without these sequences--particularly one late in the film where we see more of the family's relationship as it existed before the loss-- Hesher would be incredibly depressing.
In fact, it is still fairly depressing.
Hesher seemingly does his personal best to ensure this.
He is a cipher, a darkness, a lack of humanity.
For much of his screen time, he leers, smokes, grunts, moves with a rank primal energy.
We can't tell if he is an anti-hero or not...usually he is just reckless, depraved, and watchable. His metaphoric soliloquies (particularly the epically humorous and gross and tragic one at the funeral) are worth the price of admission alone.
It is a departure for Levitt, that is for sure, playing a character more akin to the haunted prostitute he played in Mysterious Skin than any films he has done lately. His character is a bruiser, a fairly unlikable wretch. And yet he gets the girl, he befriends the grandma, he rescues the kid...when he feels like it. The film which has trouble containing him is an unapologetic, drab, oft-intense and malicious picture. It is full of scratches, scars, and occasional shreds of understanding. There is an unrestrained power here, if you can handle the darkness, the brooding, the concussive expletive-heavy dialogue.

HESHER tells a tale that we've seen before: outcast boy (Devin Brochu) copes with a pill-popping father (Rainn Wilson) and a well-meaning but misunderstood grandmother (Piper Laurie). He gets picked on by a bully, meets a beautiful outcast girl (Natalie Portman), and befriends a nihilistic loner (Joseph Gordon-Levitt). Heartwarming chaos ensues.

It took three people to write HESHER, which is a little disturbing, considering the film doesn't have much original to offer. It's nice to see a film revolving around such a violent character, but the violence is grossly understated and rarely prominent (except for Gordon-Levitt's riveting first scene). Hesher's potential violence pretty much remains potential, and the inevitable heartwarming end (yes, you knew it was coming, you know it from the second or third scene) undermines any promise the film truly had.

Then why three stars? Because of the performances. Gordon-Levitt is reliable as always; in his best scenes, he sinks his teeth into Hesher and lets 'er rip. Brochu does the brooding child thing well, with a delightful hint of menace and vulnerability thrown in for good measure. Wilson is superb as the father, and Portmant is a little too sexy for her role (we're supposed to believe no one cares about a girl who looks like that? Really?) but, as always, she makes the best of what she's given. More kudos go to the always-great Piper Laurie, and John Carroll Lynch (grossly under-used, as always).

Ultimately, HESHER is a bit of a let-down. It doesn't know what it wants to be: bada** flick about conflicted relationships and coping with loss, or feel-good drama with a little dirt rubbed in. Ultimately, the dirt doesn't break the surface, and HESHER remains little more than a promise unfulfilled. But see it for the performances, especially the scene between Laurie and Gordon-Levitt--two of the best actors of their respective generations, sharing an intimate moment and playing their talents off one another. It doesn't get more entertaining than that; too bad the rest of the film doesn't equal that level of greatness (though, in a few keys moments, it comes pretty close).