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“Same Kind of Different as Me” is a top contender for the Nice Movie of 2017 award because it is content to simply exist and be kind when it is not attempting to extract tears from its audience in the manner of experimentation. Spiritually, it feels relatively tame when compared to other religious films, as it does not proclaim that “Heaven is For Real” or that “God is Not Dead,” but it does use the Bible as a moral compass on its bland journey of selflessness, as it does in other religious films. The film’s greatest risk is that it will alienate members of the Ku Klux Klan, but given the current political climate, the film’s producers may believe that is sufficient risk.
The true story of Ron and Debbie (Greg Kinnear and Renee Zellweger), a wealthy Texas white couple who befriend a violent homeless man (played by Greg Kinnear and Renee Zellweger), is told in “Same Kind of Different as Me,” a film based on the bestselling book that has spawned a sequel and a children’s adaptation (Djimon Hounsou). Denver is the real name of the character who goes by the alias Suicide. The true story aspect of this saga is a type of preservation in and of itself. Debut co-writer/director Michael Carney doesn’t have much of an eye for any of it, which includes a “Blind Side”-like narrative that transitions into a weepy sickness tale fit for Nicholas Sparks that I won’t spoil. It’s difficult to disagree with the central theme and events of this true story, except when the film reveals itself to be a bit too self-congratulatory, which happens a lot.
Because Denver recounts a horrifying racist episode from his childhood that is featured in the middle of the film, the book, which features the “voices” of Ron and Denver as organized by their co-author Lynn Vincent makes it a point of starting with Denver’s narration before moving on to Ron’s narration. However, rather than giving the impression that the story belongs to both men, this film is told from Ron’s point of view, and is framed as the story of a Texas art dealer who knew a wonderful woman who helped introduce him to a sidekick. After Debbie discovers Ron cheating, she sends him to a homeless shelter in a less-than-pleasant part of Fort Worth, where he spends the rest of the movie interacting with homeless people and treating them as human beings. Debbie has a dream one night in which she is walking through a field and encountering a black man, which is the kind of straightforward narrative detail that proves to be significant in a film like this.
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Suicide, armed with a baseball bat in hand, rips through the homeless shelter’s cafeteria, bringing that mental image crashing into the movie. Ron and Debbie reach out to him scene-by-scene, acknowledging him and feeding him, and the intense man loses his thick exteriors and begins to offer perfect wisdom after perfect wisdom, scene after scene. Later on, he is welcomed into their home as well as their social lives. We learn about Denver’s incredible past through monologues interspersed with flashbacks: that he grew up in Louisiana picking cotton in conditions that were essentially slavery, far removed from the civil rights movement or any other form of modernity; that he was beaten by KKK members as a teenager; and that he was sentenced to prison for attempting to rob a bus in Shreveport. Using his scraggly voice, Hounsou tells these stories in lengthy monologues while Kinnear and Zellweger listen in, with Hounsou delivering precise line-reading and shedding tears as needed. Carney can only accompany Hounsou’s wet eyes with bland flashbacks or stubborn modern-day close-ups, which are true to the hollow cinematic spirit of the film. Carney’s film is a disappointment.
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The film establishes a strong contrast between why Ron & Debbie and Denver would be unusual as friends, which results in a particularly satisfying scene in the middle when Denver is shown hanging out with the characters. Certainly, there are some cringe-worthy scenes, such as when one of Ron’s peers at a country club refers to Denver as a “amigo Negro,” but the shimmer, the value of “nice,” is prominent, and it is performed by three capable actors. In fact, Kinnear, Zellweger, and Hounsou frequently give the impression that the production has more soul than the sappy strings, generic dialogue, and sloppy filmmaking would suggest.
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Having said that, it should be noted that Hounsou delivers one of the most intense performances that these modern religious blockbusters have ever witnessed. Despite the fact that these moral melodramas are merely projects, actors of all religious ideologies, from the shoulder-shrug to Uber Kirk Cameron, find their way into them as a result of inconsistent spiritual or artistic inspiration. Take, for example, Jon Voight’s performance in this film, in which he delivers a curmudgeonly drunk performance that undermines the film’s weak subplot about being forgiven by his son, Ron. The character, on the other hand, possesses something explosive in Hounsou, who sees in him a profound soul who has survived many lives on his own; Hounsou believes something in this story that others do not. As a result, he delivers a performance of such intensity that the project is left scratching its head as to what to do with it.
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Denver’s shallow motivation for making the film is revealed as the plot progresses, with the emphasis placed primarily on the audience’s emotions. Aside from telling a sad story from his past, crying, and making his new friends feel all the more confident in what they have done, his narrative responsibilities are limited to these. The more times Denver offers wisdom, such as in the perfect speech at the end of the film from which the film gets its title, and then takes a position to the side, the more tedious his handling becomes. “Same Kind of Different as Me” would rather focus on the selfless, magical white people and the human being who benefited from their kindness than the fascinating story of an unlikely connection between a married couple and Denver. It’s bad enough that the story dampens the spirits of Ron and Debbie; it’s even worse that the story tries to prop up Denver to such a high level that it’s disgusting.Also, you must try to play this Same Kind Of Different As Me quiz.
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