Paul Schrader’s follow-up to Mishima, a stunning biography and statement about the nature of artists, is as minor as his previous work was a major triumph. One is hard pressed to see many similiarities between them; in fact, it is hard to tell the same man directed both films. Where Mishima is bold and daring in its visual and thematic composition, Light of Day is plain, muted and otherwise drab — a boring style that adds legitimacy to its depiction of working-class siblings from Cleveland trying to balance family, work and musical aspirations. The story’s setting seems to provide the bulk of the real drama in this story, which meanders from one family drama to the next without much connectivity between them. The characters are shallow; they are not empathetic or individualistic, and their only depth comes from their connection to one another. But if this is a family drama, one would assume the characters would be bound together in some way from the start.

As the movie opens, we are introduced to the story’s two main components: working-class life and rock music. The opening shots of a Cleveland factory are reminiscent of Schrader’s debut Blue Collar, but he quickly switches gears to focus on a small-time band playing at a small-time bar where the lead singer, Patti, dreams of making it big alongside her brother, Joe, and the other part-time members. Patti, played somewhat unconvincingly by Joan Jett, whose life consists of being a single, working mother while trying to jumpstart her music career, starts out as the main focus of the story. As circumstances change, she is forced to make a choice between the two and, for reasons not entirely explained, Patti chooses to abandon her son and join a different band on tour. At this point, the plot switches focus to Joe (Michael J. Fox), whose close relationship to his sister and nephew makes him an ideal surrogate father. While Joe gives caretaking an honest shot in some scenes, other scenes portray him as a single man enjoying bachelor life, unconcerned with finding his sister or understanding why she left. The third character Light of Day focuses on is the siblings’ deeply religious mother, played with realistic zeal by Gena Rowlands. Her dominating impact on Joe and Patti drives much of the plot, which is explained in an overwritten introductory sequence set at Sunday dinner that is more interested in eliciting shocks through surprising revelations than in establishing convincing characters. Rowlands’ interactions with Jett and Fox are merely opportunities to be combative or compassionate, and the repetitive nature of the story wears itself thin. By the end, there can be only one type of interaction and any sensible movie-goer knows what that is.

If the family drama lags in Light of Day, what about the music? The movie relishes its depiction of the time period in which it is set, and has fun referencing the popular ‘hair metal’ and other punk-rock bands and trends of the late 1980s. During the Sunday dinner scene, Schrader seems to make an overt reference to the notion of Reagan conservatism vs. rebellious, youthful liberalism. Yet, even this is put aside when a third and final major issue is raised in the last act, forcing the family to reconcile in all the familiar ways. Interestingly enough, it is in this last third of the movie where Schrader’s hand is most evident, as the ingrained antagonism between Jett and Rowland is thrown for a loop when religion enters the fold. Unfortunately, the mother’s devotion to her faith appears more as a plot gimmick than a deep-seeded character attribute. A number of the final scenes drum up religious sentiment for the sole purpose of audience pathos, and if one recalls how Schrader used his character’s religion to great affect in Hardcore, this attempt is particularly lacking.

Despite portraying flimsy characters, most of the actors are able to bring a certain amount of authenticity to their performances; especially Rowlands, whose mix of empathy and righteousness makes her a real mother conflicted about how or even if she should help her children. While Fox is miscast but manageable, Jett’s low-key delivery and mostly unexpressive face could hint at a tormented soul, but instead comes across as simply a new actor out of her depth. She is convincing in the musical scenes, but her talents remain there, and do not extend further. Schrader’s use of establishing shots of various Rust Belt cities and small-time bars give the whole atmosphere of the story the most credibility; it really does feel like a particular story of a particular time and place. Still, one unforeseen development after another soon becomes all too familiar and irritating for the viewer and what Schrader leaves us with are questions about small issues rather than answers to the big ones. If anything, Light of Day is the type of film a director like Schrader needs on his resume to establish his diversity of ability. All it establishes for the audience, however, is that certain types of stories are not Schrader’s strong suit, and mixing rock and roll with family drama is one of them.