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Because of the film's loose structure, there isn't much scope for character development. Whitehead's Paul seems to only have a few moods, either angry or confused. The actor hints at more interesting layers, but Paul is deliberately opaque, with only occasional glimpses of personality. Which makes him very hard to like, especially as he lies to others and himself. Bloom's Wye is more engaging, open and likeable, with a sparky curiosity. Scenes in which they open up to each other are low-key and nicely played.

It's refreshing that Lessovitz never over-eggs the story's bigger themes, maintaining an intimate tone as she knowingly grapples with sexuality and bigotry, as well as Paul's internalised homophobia. Along with prejudice and deception swirling everywhere, all the straight men in this film are misogynists who are quick to violence. So while it's great to see Paul attempting to tap into his more sensitive side, there's a nagging feeling that this is headed for heavily pointed climax. And indeed, Lessovitz has some important things to say.

themes, language, violence

17.May.21

Unusually clever dialog allows each of the actors to have a lot of fun with his or her role. Hanna and Myre have enough sparky attitude to make their characters engaging. But it's the relentlessly surly PG who steals the show, with Ninaber's adept rubber-suited physicality and Vlahos' rumbly voice. His dialog is a mix of rambling nonsensical mythology, threats of violence and ridiculous punchlines. "I do not care for hunky boys," he growls when Mimi gives him a magazine. "Or do I?" And Brooks and Hancey have some great moments of their own.

Konstanski laces the script with deeper themes that add little kicks of meaning to the various interrelationships, from the growing camaraderie between the kids and PG to some astute gags about self-importance and misplaced machismo. There's also some well-aimed sentimentality that never gets sappy. This is a story about how power changes people, so even as we're having a lot of fun watching it, there are thoughtful things that get us properly involved in the craziness.

themes, language, violence

11.May.21

Roy brings remarkable alertness to Catherine, who obsessively accepts inconsistencies in the world around her. Her sparky personality seems fully aware even as she continually misses jokes. Cullen adds a lovely, slightly brittle wit to his scenes with her, making their relationship seriously charming. And Anouka's Anita has a hilarious wariness that cleverly reveals her unflinching support and profound love for Catherine. Side roles add strong textures, including Wilson-Jones as Catherine's seriously messy mother.

As the narrative progresses, the story expands and spirals, dropping enormous revelations about Catherine's past and present that shift the deeper meanings in profoundly moving ways. As things begin to come into sharper focus, the underlying issues become much more personal. It's not an easy film to watch, as the grisly violence sometimes feels flippant, and the approach to big topics is so multifaceted that it can be tricky to navigate a path through it. But perhaps that's the point, and it's what makes the film both unsettling and urgent.

themes, language, violence

24.May.21