The Sweet East
From its opening few minutes when teenager Lillian (a vibrant Talia Ryder) sings a song into a streaky restroom mirror and then erupts on an Alice In Wonderland-like vaunt across a funky, ideologically dangerous swath of the Northeast, Sean Price Williams' "The Sweet End" had me hooked. From that jumping off point, the film follows Lillian through about seven different genres as she leaves her old life behind and becomes the ethereal memento for a wide variety of denizens of an ever-shifting environment- from activist punks to shady White Nationalist incels to a fast-talking filmmaking duo who solicit her for their movie, "The Sweet East" is erratic, jagged, and at times exhausting. But it's also extravagantly beautiful and bursting with nervous life and a central performance by Ryder that stands as one of the most beguiling of the year. She not only holds the center of an effort that has her in the clutches of so many divergent characters, she remains wholly believable. And separating itself from the pitfalls of mumblecore presentations and low-budget naval gazing (like the recent Ross Brothers film "Gasoline Rainbow"), "The Sweet East" actually has something to say about the pungent state of America today. The fact that Ryder and filmmaker Williams end on a slight barrier-breaking smile and glance at the camera, "The Sweet East" also comments that perhaps the kids might be okay.
Horizon: An American Saga
Well, as I write this, the news comes out that Chapter 2 of Kevin Costner's ambitious western epic has been pushed from its August release date due to the financial shortfalls of this first one. Regardless of audience turnout, I thoroughly enjoyed Costner's languorous, multi-storied weave of three tales about the expansion of the West. I especially enjoyed the ten-minute saunter up a hill while Costner and a short-tempered outlaw (Jamie Bower) make conversation and draw out the tension that both are headed to the exact same spot. I don't think I've ever seen that before. And while this unique first bit of narrative gamesmanship isn't replicated in the rest of the film's somewhat cliched storylines, I admire how Costner's vision of repealing the television mini-series in favor of adult entertainment in a theater plays out. And, I have to say, the thundering final few moments..... giving us glimpses and scenes that (hopefully) will be unspooled in Chapter 2..... is a sneaky way to self-market and whet the appetite for those few of us who still believe in the archetypal glories of the big screen western.
Longlegs
Oz Perkins' new film "Longlegs" succeeds wildly despite its flaws. First of all, it's muddled and somewhat miserable in its attempts to be a police procedural. Just how does FBI agent Harker (Maika Monroe) decode those letters and why is everything so heightened? Perkins also snatches pretty much every exaggerated tendency of the deranged serial killer over the years and congeals a maddening cocktail for his titular enemy. However, all of this is made clear as the film progresses, and "Longlegs" wants to comment on something more than the nuts and bolts of police vs. criminal mind. There's a reason Monroe's performance is glassy-eyed and twitchy (a role that Monroe makes look very simple behind a complex internalization), and as the first half propels into the second, the atmosphere and angular sense of dread and hazy recollection becomes all too clear... and even poignant. And while some of Perkins' discomforting ideas fall a bit flat (the emphasis on glam-rock especially), the idea that evil hides among us in clear daylight is something horror/psychological terror films have been grappling with for years, and "Longlegs" goes right for the jugular with it. Would make an awesome double feature with "It Follows" as well.
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