Frank’s Film Review: Train Dreams
⭐⭐⭐⭐/5

Last night, as I stepped into the theater for the Seattle International Film Festival, my heart pounded with anticipation. Like many in the audience, I was eager to see Train Dreams, the new adaptation of Denis Johnson’s acclaimed novella. But I had another reason for my excitement. About a year and a half ago, I spent a long, unforgettable day on set as an extra for the film. Half-hoping to catch a glimpse of myself on the big screen, I settled into my seat amid the electric anticipation and waited for the lights to dim.

And then — disappointment. My brief scene didn’t make the final cut. All those hours on set, gone in an instant. It stung more than I expected, yet, unexpectedly, it was also a relief. I stopped searching for my face in the crowd and allowed myself to get swept up in the story like everyone else.

Train Dreams takes us to the rugged and beautiful American Northwest in the early 1900s. It follows Robert Grainier (Joel Edgerton), a logger and railroad worker. His days are hard, marked by long hours, rough weather, and the daily struggle to get by. We watch him grow from a young husband newly married to Gladys (Felicity Jones) into an older man marked by loss and time alone. The movie is not about big twists. It is about small moments that add up — a laugh on the porch, quiet snowfall, and the silence of an empty house. Those moments slowly reveal who Robert is and what life has taken from and given him.

Director Clint Bentley and cinematographer Adolpho Veloso make a great team, but what really stood out to me on set was Bentley’s willingness to step back and let Veloso take control — literally. I spent hours on a hard church pew as an extra, watching Veloso at work. He wasn’t just operating the camera; he was shaping each shot, searching for the perfect light, texture, and moment. If Veloso wasn’t satisfied with a shot, he did another take without complaints. Everyone could see he was chasing something just out of reach, a flicker of beauty or truth only he could perceive. That trust and patience are woven into the film itself. Here, light, shadow, and silence carry as much weight as dialogue. Veloso’s visuals don’t just tell the story — they are the story. His work is Oscar-worthy. It’s that good.

Edgerton’s portrayal of Grainier is remarkable — tough but never cold, gentle without weakness. Felicity Jones imbues Gladys with genuine warmth. When they share a scene, the whole theater seems to glow. The supporting cast — Clifton Collins Jr., Kerry Condon, William H. Macy — bring the world to life, adding depth without ever pulling focus.

The film moves at its own deliberate slow pace — like a river at summer’s end. Sometimes it drifts, sometimes it lingers, always unrushed. There aren’t many big moments or easy payoffs, and that might not be for everyone. But when Train Dreams lands — when the camera catches a glance or a moment of stillness — it resonates in a way you can’t shake.

Train Dreams will be shown in select theaters on November 7th. If you get the chance to see it on the big screen, I strongly suggest it. But for those who can’t see it in theaters or prefer to watch at home, the wait won’t be long. Train Dreams will be available on Netflix starting November 21, 2025.

Would I have liked to see myself on screen? Absolutely. But even without my celluloid moment, I left feeling proud — proud to have been a small part of this film and proud of how powerful it turned out to be. Train Dreams won’t please everyone. It’s slow, patient, and it asks you to meet it halfway. But if you do, it doesn’t just tell you a story — it lets you live inside one for a little while.

Frank Gaimari is an author, film reviewer, and actor based in Seattle, Washington. He lives with his husband and their two golden retrievers. Learn more about his work at http://FrankGaimari.com.