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On this page: COWBOY | WHISKEY DIXIE AND THE BIG WET COUNTRY

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See also: SHADOWS FILM FESTIVAL | Last update 28.Jun.26

Cowboy
Review by Rich Cline | 3/5

dir Nathan Grubbs
scr Joshua Ryan Dietz, Jeff Hoffman
prd Nathan Grubbs, Marc Senter
with Nathan Grubbs, Alexandra Essoe, Marc Senter, Eddie Steeples, Larry Fessenden, Bryan Batt, Dane Rhodes, Laura Cayouette, Navia Nguyen, Don Yesso, Langston Fishburne, Carl Palmer
release US Oct.25 noff,
UK Jun.26 rff
25/US 1h37

Is it streaming?

Stylish cinematography and editing help elevate this independent New Orleans drama, as does solid direction by likeable lead actor Nathan Grubbs. With an internalised perspective, the movie gets under the skin of a grizzled man trying to get his life back on the rails. So it's easy to get involved in his story, even if the script takes a couple of awkward turns in the final act.

After some small robberies, war veteran Juno (Grubbs) and his squirrelly cohort Moses (Senter) decide to steal a horse. But Juno actually wants to return to riding competitively. When the theft goes awry, Juno ends up in prison, keeping his head down until the prison rodeo. Released five years later, he quietly restarts again, first going to apologise to Eve (Essoe), whose horse he tried to steal. But she's blind due to that fateful night, so he ends up working for her instead, hiding his true identity. Soon they begin to connect in unexpected ways.

Of course, the plot set-up leaves us waiting for some other shoes to drop. Complicating his secret, hotheaded goon Rip (Fessenden) holds a grudge because Juno once stole from him. Several other characters add colour to the story, including Juno's smart, loyal friend Crane (Steeples), a pawnshop owner who is opening a funky rodeo attraction with his wife Lolo (Nguyen). There are also sinister bankers pressuring Eve to sell her farm.

Performances are nicely understated, allowing emotions to ripple under the surface. So we wait for the fallout when Eve discovers who Juno is. Grubbs has a quiet intensity as the gentle Juno, letting his rugged charisma simmer while developing nice chemistry with Essoe's open-hearted but never naive Eve. It's fairly clear that he's actually a good guy, regardless of his sketchy past. So even when a sadness creeps in, we have a strong feeling where the story is heading.

Ultimately, there isn't much to this film beyond the usual depiction of how difficult it can be to escape a troubled past and start over with a fresh slate. The way the narrative plays out is a surprise, as it leads to a high-stakes climax that feels more than a little contrived. But by this time, this slickly made film has built up enough good will with the audience that we go along with it, holding our breath as we hope these people catch a break.

themes, language, violence 27.Jun.26

Whiskey Dixie and the Big Wet Country
Review by Rich Cline | 3/5

dir-scr Amanda Richards
prd Stephanie Salvey, Amanda Richards
with Amanda Richards, Brandie Sylfae, John Bruner, Tyler Shilstone, Dennis Fitzpatrick, Mac Kimmerle, Michele Brouse Peoples, Anita Clark, Stephen Freeman Moore, Christine McAllister, Chad McAllister, Joey Harmon
release UK Jun.26 rff
25/US 1h54

Is it streaming?

This raucous redneck musical comedy keeps the audience giggling with its witty songs about personal hygiene, orgasms and sexually transmitted diseases. Actor-filmmaker Amanda Richards has assembled this in a way that's sharply pointed, and so quick that it's tricky to keep up with the nuttiness. But there's also plenty of heart woven throughout the story, as likeably messy characters try to find ways to have a better life.

In backwoods America, diva Whiskey Williams (Richards) imagines life as a lavish country and western musical, while reality centres around the trashy Dixie Tavern. When fame beckons due to her viral High-Speed Climax video, she feels past her prime. Her friend Trish (Sylfae) encourages her to quit drinking and go for it. Then as Whiskey dithers about her sweet-dopey casual boyfriend Paul (Kimmerle), she meets the bar's hot-shot new owner Dick (Bruner). Now she needs to work out what she wants to do with her life, and who to do it with, as it were.

Almost entirely set within the Dixie, the film feels like a stage musical with blackout scenes punctuated by neon sign art. When each engaging song kicks in, costumes become much flashier, reflecting Whiskey's magical perspective. This is also reflected in the gleefully profane lyrics. Richards plays Whiskey as a superbly strong-willed, matter-of-fact woman who embraces what life throws at her with a wry smirk and a snappy tune.

Amusing lines of dialog fill the script, giving the ensemble cast plenty to play with as they express the characters' big attitudes. Richards has strong chemistry with everyone, as spiky edges and warm humour add depth to even the most ridiculous interaction. Richard also extends the running time to give side characters their own songs and melodramas. Bruner gets some especially memorable numbers. Kimmerle is the remarkably sympathetic. And Sylfae has the most complex role as the straight-talking Trish.

Along with the film's scrappy, rambunctious vibe, the script is refreshingly sex-positive, as each person grapples with the nature of their love life. That said, the sexy moments are played entirely for laughs, as are the hilariously frank songs, which are almost criminally catchy. And there are several strong ideas swirling around here, including the idea that we tend to create drama to avoid facing what we should be doing with our lives. So the movie's final challenge is to not let our dreams go unrealised.

themes, language, sexuality 27.Jun.26

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See also: SHADOWS FILM FESTIVAL