Writer/director David Roher’s “Tuner” is the very definition of a sleeper, a phrase that, in my childhood, I initially believed to be a movie that put you to sleep.
The phrase actually means an unexpected success, which can apply to the film’s quality, a surprisingly robust box office or both. “Ghost” (1990) and “Good Will Hunting” (1997) are obvious, noted examples of this.
As of press time, I have no idea if the buzz I encountered at the “Tuner” preview screening will translate to strong word of mouth.
Leo Woodall stars as Niki, an expert piano tuner who works for his uncle, the noted Harry Horowitz (Dustin Hoffman), who has been in the business far too long. Nevertheless, while the worn-out Harry drags his way through assignments, Leo’s expert hearing makes him the best piano tuner in the business.
When Leo encounters Ruthie (Havana Rose Liu), a gifted pianist, he is initially off putting and distancing, his usual way with those he distrusts, but Ruthie draws him in. Just when things seem to be finally turning around for Leo, a random encounter forces him to consider something else about his talent: his uncanny hearing and ability with pitch.
That also makes him a safe cracker, who can hear the exact moment the combination of a safe is cracked open.
Both Woodall and Liu give dynamic turns, playing characters who are not idealized or flawless. Both draw us in as thoroughly as the actors do and, in a refreshing touch, Niki and Ruthie are frustrating and real.
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“Tuner” has the snap of a Steven Soderbergh crime caper, minus the pretension. Roher somehow manages to mirror the perfect pitch of his protagonist, as this tonally balances a love story, a slice of life drama, crime story and an unorthodox musical journey.
Hoffman doesn’t give a glorified cameo – he adds greatly to the proceedings in a textured supporting role (the character isn’t Willy Loman, but there is something tragic about Harry’s role in his life).
There is a visible bobblehead of Harry that he keeps in his van that says so much about him – he was once famous enough to merit a bobblehead, but the plastic visage of his face suggests this was a long time ago and when he was far younger.
Hoffman is wonderful, but the film belongs to Woodall and Liu.
The villains are amusing at best, cartoonish at worst. Thankfully, while the crime subplot takes focus, the film itself doesn’t become some forced action movie and finds unpredictable ways to develop that part of the narrative.
It’s similar to how Jean Reno’s character enters the film late and becomes a pivotal figure in both Niki and Ruthie’s lives.
Roher leans into the sound design to convey what the world sounds like to Niki, cleverly creating a soundscape for each sequence. “Tuner” isn’t a violent film, but the scenes where Niki experiences pain in the form of loud sounds are hard to watch.
There’s a moment at the midpoint where Ruthie plays piano for Niki, who sits next to her and watches her, one of the most blissfully romantic scenes I can think of.
“Tuner” has at least one ending too many, but the final scene is golden. I would have liked just a little more of an epilogue, but the film ends, literally and figuratively, on the perfect note.
Three and a half stars (out of four)