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Smoke Signals

Smoke Signals

Drama · Comedy · 1998

Young Native American man Thomas is a nerd in his reservation, wearing oversize glasses and telling everyone stories no-one wants to hear. His parents died in a fire in 1976, and Thomas was saved by Arnold. Arnold soon left his family, and Victor hasn't seen his father for 10 years. When Victor hears Arnold has died, Thomas offers him funding for the trip to get Arnold's remains.

Movie details

Smoke Signals

“A new film from the heart of Native America.”

1998 Drama · Comedy 1h 29m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Young Native American man Thomas is a nerd in his reservation, wearing oversize glasses and telling everyone stories no-one wants to hear. His parents died in a fire in 1976, and Thomas was saved by Arnold. Arnold soon left his family, and Victor hasn't seen his father for 10 years. When Victor hears Arnold has died, Thomas offers him funding for the trip to get Arnold's remains.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Smoke Signals?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Chris Eyre

Written by

Sherman Alexie

Adam Beach

Adam Beach

Victor Joseph

Evan Adams

Evan Adams

Thomas Builds-the-Fire

Irene Bedard

Irene Bedard

Suzy Song

Gary Farmer

Gary Farmer

Arnold Joseph

Tantoo Cardinal

Tantoo Cardinal

Arlene Joseph

Cody Lightning

Cody Lightning

Young Victor Joseph

Simon Baker

Simon Baker

Young Thomas Builds-the-Fire

Court is in session

Put Smoke Signals on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.