On this page: GOOD ONE | MIDNIGHT IN PHOENIX | THINGS LIKE THIS

< < I N D I E S

Performances have a relaxed authenticity that makes the most of the superbly understated dialog. At the centre, Collias plays the observant, sensitive Sam as a capable young woman who just gets on with things while Matt and Chris talk nonsense. Le Gros layers an innate intelligence to the way Chris keeps an eye on her. By contrast, Matt is an overconfident chucklehead with zero intuition in the outdoors. Although there are moments when McCarthy lets us see the emotions churning inside him.

Tiny insights pepper the interaction between these three people over the course of this unusually perceptive film. So even if much of what happens feels uneventful, there isn't a wasted frame on the screen. Each silly discussion and campfire story reveals something new about the characters and their complex inter-relationships. So when things turn serious later on, the underlying meaning is razor sharp. This is an astute, beautifully made film that marks Donaldson as a filmmaker to watch.

themes, language

25.Apr.25

There are some terrific conversations along the way, as Levi and Ezra speak about their experiences, including serious problems with coming out as gay in their families. This shared background helps them connect, even as their stubbornness continually causes tension between them. Both Andrews and Pierre have a strong, sexy screen presence, so their characters are engaging, especially as they allow their emotions to emerge. Andrews also has some fun playing up Levi's performance skills, from glittery drag to a mean Samuel L Jackson-style thug.

The strong idea at the centre is that these two guys don't feel they can trust the police, even though it's known that they were bystanders to the robbery. This provides underlying social commentary that feeds into conversations between Levi and Ezra, which are both lightly comical and darkly barbed. It's understandable that these guys would be reluctant to accept love from each other and others. This is far more compelling than the action elements, because it has a genuinely meaningful resonance.

themes, language, violence, sexuality

4.May.25

Pollari is charming as a young man who is afraid of strong feelings, especially when it comes to falling in love. He is startled by this new happiness, which only makes him more aware that he doesn't understand himself. Talisman gives the quick-witted Zack A an open emotionality that continually disarms Zack M, leading to adorably grand gestures. Around them are an ensemble of expert supporting performers who add terrific texture to each scene.

As love blossoms between these two young men, it's easy to feel the push and pull of the screenplay structure, hinting that trouble is on the way. Both of these guys are at pivotal points in their lives, and the script brings both good and bad things their way, including several sudden conflicts that nudge them in various directions. This makes the standard second act feel a bit overlong, as a single phone call at any point would solve the issue, but we never doubt that a humorous and warmly cathartic finale is on the way.

themes, language

2.May.25