We all grieve in our own way – and for the protagonists of Raymond & Ray, the journey to coming to terms with their father’s death is not an easy one, both geographically and emotionally. Rodrigo García is one of our great journeyman directors, a filmmaker who may not always have the most distinct authorial voice or a distinct style, but who is known for being a reliable source of solid, earnest direction that helps bolster films that would have been inconsequential without his special touch. His most recent effort sees him working alongside a talented team to tell the story of estranged siblings who are forced to come together after years apart in order to travel to rural Virginia to bury their father, a man whose philandering was a source of contention between them, and ultimately the reason both brothers drifted apart from their entire family as a whole. It’s a film that may be overwrought in some places, but has a candour that we don’t often find in these family-based stories, where the emphasis is on delivering pointed social commentary by means of heavy-handed melodrama – and while García is not entirely innocent when it comes to cinematic sensationalism, his category of drama is far more intimate and compelling. Raymond & Ray works as both a compelling family-based drama, and as a psychological character study about two very different people who share a lifelong bond finding their paths unexpectedly converging, leading to a deeply moving and blisteringly funny exploration of themes such as brotherhood, mortality and the importance of recognizing that sometimes the journey matters much more than the destination – and considering how much of this film depends on creative use of conventions, such a cliched adage seems more than appropriate such a story.

Nothing unites a family quite as well as major life changes, whether it is a birth, marriage or death. There’s something about these pivotal events that bring even the most incompatible kin together, which is a common source of inspiration for artistic works that look at different familial dynamics. The perfect family does not exist, and considering how we can all relate to the concept of companionship and the emotional connection that comes from being a part of some kind of cohesive group (whether a biological family or a chosen tribe), there is a lot of value in exploring the different ways we function in these scenarios, especially when it comes to a subject as unfortunate as death. Raymond & Ray is a film about not only coming to terms with the demise of a loved one, but also processing the changes that come about after the fact – secrets are revealed, tensions are either resolved or reach a fever pitch and people are forced to confront issues that have remained dormant for a considerable amount of time. In this regard, Raymond & Ray is nothing we haven’t seen many times before, and the concept of a family coming together to mourn the death of one of their own is not entirely new – but through his fervent compassion and ability to plumb the human condition for some very meaningful emotions, the director manages to create a very compelling portrait of brotherhood, looking at the bond that exists between two people that may have pursued wildly different paths, and who may not always get along, but still find themselves drawn together, since (as cliched as it may be), blood often tends to be thicker than water, which is the precise theme that pulsates throughout every frame of this film.

The hook that ultimately attracts us to Raymond & Ray is the cast, specifically the actors playing the titular roles. Most of this film is built on the ironic duality of having two half-brothers who may share a name, but differ in nearly every other way, which is where the film finds most of its humour. However, this is not the conventional odd couple scenario we often encounter, where two diametrically opposed actors are cast in roles designed to riff on their enormous differences as a source of comedy – instead, it was important to utilize actors who could play characters with very different personalities, but still effectively play brothers without. There’s very little reason to doubt the talents of Ethan Hawke and Ewan McGregor, as they have both proven themselves on multiple occasions, taking on fascinating characters throughout their long and varied careers – and they’re united under García’s vision, playing these siblings that find themselves struggling to find their place in the world after the death of their father. However, even seasoned veterans can offer us a few surprises, and while neither of them is doing particularly revolutionary work, or playing characters that are that far out of their wheelhouse, they’re delivering some of their most earnest and compelling work in quite a while, their skills in both comedy and drama being extraordinarily useful in the development of this story. This is primarily due to the fact that they’re both committing entirely to these characters, and develop their individual roles in conjunction with one another, rather than just focusing on their characters in isolation. Their chemistry is impeccable, and while the physical resemblance is obviously tenuous, both actors are so precise in their portrayals of the titular protagonists, we can easily suspend disbelief and genuinely follow this story as if we were watching two real brothers work through a series of challenges.

García is the rare kind of director whose greatest strength is also his biggest shortcoming – his approach to the emotional content of his films have divided audiences, some seeing him as a very reliable master of solid, adult dramas that tackle very important issues, while others are very quick to dismiss him as someone who just peddles needless sentimentality, convincing us to the value of his work based on the impressive casts he manages to assemble. This is certainly not a criticism that isn’t somewhat based in reality, and as a result there are several films that he directed that feel cobbled together from a few strong emotions, tied together by a thinly-written storyline that supposedly offers some cohesion. Mercifully, this doesn’t apply to Raymond & Ray, which may have its moments of overwrought sentimentality, but balances it with a decent amount of charming humour that feels both comforting and biting, a combination that is truly unexpected from a director who mainly worked in more sobering melodramas in the past. García finds the right balance between the emotions, and rather than trying to distance this film from the kind of sentimentality we’d expect from a story based around the death of a loved one, the director leans into the themes of grief and emotional turmoil, and presents them in a way that is effective and honest. He never elongates any of the emotions to be more effective, and as a result we don’t feel like we are being sheepishly provoked to have a particular reaction – the film feels quite authentic in how it views these characters and their individual journeys, and while some of the scenarios may be quite shaggy and boisterous, there’s a genuine streak of pure humanity that underpins this film, acting as the foundation for its beautifully honest and precise depiction of the trials and tribulations of two brothers processing their grief, while also addressing deeper issues, which is the basis for many of the film’s most moving moments.

Raymond & Ray is a very charming film, one that may be a bit rough around the edges, but like its protagonists, it uses this lack of refinement to explore some very important themes, which could seemingly only manifest through a more rugged, dishevelled approach to the material. There is nothing here that is particularly bespoke or unique to this specific film – the theme of relatives being brought back together after an unexpected loss is not new, and it just contributes to an already extensive canon of films that focus on family-based issues, and the challenges that often face those who find themselves navigating hostile circumstances surrounding the past, which we all know can be even more challenging when family is involved. There are as many moments of outright hilarity as there are downbeat explorations of the human condition, as filtered through the gaze of these two flawed brothers that realize, regardless of the events of the past, they are the only people on whom they can depend. Raymond & Ray understands that the impetus behind this story can’t simply be two hours of bickering between relatives, but rather a situation where their disagreements and conflicts have some depth, playing a part in the eventual resolution. It may be a cliched approach, and it often seems to be struggling to find the right tone, but for every small flaw, unique ideas are abundant, each one vibrant and meaningful and ultimately the foundation for this charming, insightful look into a pair of brothers doing their best to overcome a series of obstacles, which ultimately prove to strengthen their bond and remind them of the unimpeachable power of family connections.