Take Out Girl


It’s not easy scratching a living in the mean streets.

(2020) Drama (1091) Hedy Wong, Ski Carr, Lynna Yee, J. Teddy Garces, Lorin Alond Ly, Dijon Talton, Mier Chasin, Lizette Hunter, Joe Rudy Guerrero Jr., Tony Bentajado, Cole Bernstein, Melissa Del Rosario, Adia Bell, Collin Hayes, Zavieh Harrell, Veronica Mitsuk, Marilyn Simon, Caslin Rose, Tania Nolan, Crystal Powell, Jody Marie. Directed by Hisonni Mustafa

 

Life is hard, particularly in neighborhoods that are not affluent. It seems like the game is rigged for those who already have all the money they could ever need and those who are just trying to get out of poverty and make a decent life for themselves have little to no chance at succeeding at that worthy goal.

Some just give up, but that’s not how Tera Wong (Wong) is wired. She is a born fighter, bred to take crap from nobody, and raised in an environment where you have to stand up for yourself or face being knocked down over and over again. That’s life in the bottom of South Central. She’s gone to college to learn business to better take care of her mother’s failing Chinese restaurant, but has withdrawn from school as she realizes that she is needed at the restaurant more.

Her mom (Yee) is bone-weary, suffering from a back injury she can’t afford to get fixed up – or even get decent pain meds for. She can’t even afford to take time away from work to rest her back. It’s a grim catch-22 that makes Tera, and her gang-banging brother Saren (Ly) angry and frustrated. Cousin Crystal (Chasin) also works at the restaurant, although her outlook is a little more optimistic. In the meantime, Tera knows all the side hustles in the world won’t elevate this restaurant out of the gutter, where she and her family seem destined to reside.

Then while out delivering, she crosses paths with Lalo (Carr), a local drug dealer. He seems to take a shine to Tera, who calls him on his crap, much to the disgust of Lalo’s enforcer Hector (Garces) and Girl Friday Chuey (Hunter). That’s when Tera hits upon an idea; she can run drugs for Lalo without ever being given a second glance. Most of Lalo’s runners affect a look right out of a gangsta rap video, almost asking for the cops to keep a wary eye out for them. Who would give a cute Chinese girl a second glance?

At first things work out better than Tera could have dreamed as finally she’s making enough money to help her mom in a concrete way. However, there is always a price to pay for walking on that side of the street and as tough as Tera may be, that bill will come due and sooner rather than later.

Urban crime dramas concerning unlikely people getting involved in the drug trade are nothing new; there are even several about Asian women getting caught up in drug distribution, some fairly recent. Few have had as electrifying a performance as the one delivered here by Hedy Wong to fall back on. Wong, who co-wrote the movie based on her own experiences in the San Francisco Bay Area, plays a young woman who has learned to keep the walls up and the defenses on high alert. Her stiff posture, with the baseball cap slung low over her eyes, her lips tight in a kind of cupid-bow pout with a hard edge on it tell you all you need to know about the character. She is seemingly fearless – until you look closer. Her eyes sometimes betray the fact that she’s in over her head and knows it.

Her hard edges might make it difficult to identify with the character early on; when someone mutters “bitch” under their breath after an interaction with her, you can’t help but agree. But that’s not her whole story, and as the movie unspools you begin to see deeper into a character who has had to become hard out of necessity.

The dialogue is meant to be gritty and snappy, but it comes off as a bit cliché. Also, while the movie starts off compelling, it seems to lose its way about halfway through and finishes with a sputter rather than a roar, utilizing an ending that feels rushed and unearned. You may well lose interest by that time; I just about did, although the final twist would have been a good one if the filmmakers had taken the time to develop the ending a little more. In other words, if they had given as much care to the ending as to the beginning this might have been a much more solid film, but you end up feeling like you watched half a movie by the time the end credits roll.

REASONS TO SEE: Starts out as a compelling urban drama.
REASONS TO AVOID: Loses steam and peters out at the end.
FAMILY VALUES: There’s plenty of profanity along with drug references and drug use.
TRIVIAL PURSUIT: Although meant to portray downtown Los Angeles, the movie was actually filmed in nearby Riverside.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 5/25/21: Rotten Tomatoes: 60% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: Mr. Nice
FINAL RATING: 5/10
NEXT:
Citizen Penn

Gigantic


Gigantic

Paul Dano is all wrapped up in Zooey Deschanel.

(First Independent) Paul Dano, Zooey Deschanel, Edward Asner, John Goodman, Jane Alexander, Zach Galifianakis, Ian Roberts, Brian Avers, Robert Stanton. Directed by Matt Aselton

We all have our own set of aspirations. Some of them border on obsessions, which is fine. Some of them are a bit out there, which is also fine. Some of us give up on them, which is not so fine. And still others do not deviate from their plan on achieving those goals.

Brian Weathersby (Dano) is a mattress salesman in New York with seemingly low career goals, but that’s only on the surface. What’s really on his mind is the adoption of a Chinese baby, which he has wanted to do all his life and which he is now so close to he can just about taste it.

While his personality is rather bland, his life is somewhat complicated. He is repeatedly and without explanation attacked by a homeless man (Galifianakis) who might well be a figure of his imagination other than the facial wounds he leaves. He, his brothers and his father (Asner) bond over hallucinogenic mushrooms. Indeed, a Norman Rockwell family at its finest. Remember his famous Saturday Evening Post painting “Daddy gets high on mescaline”?

Brian sells a high-end mattress to Al Lolly (Goodman), an oversized man with severe back troubles. The mattress costs north of $14K so it’s not a slam dunk procedure. Al decides to send his daughter Harriet (Deschanel) over to test it out for herself before arranging the payment.

Harriet turns out to be one of those New York waifs with an independent spirit and who acts as if every moment needs to register on the quirk-meter in order to be meaningful. She falls asleep on the mattress, well past closing time. Brian somewhat sweetly places a blanket over her, more to make sure nobody looks up her skirt while she’s asleep.

They converse in murmurs. She asks if he is interested in having sex with her, and he confides that he might be. He tells a friend he’s not sure if he likes her. Brian’s whole life is about getting that baby; the presence of Harriet might jeopardize that in some odd way.

There’s no denying he feels something for her though. He brings her to meet his family which is a bit risky; only his mother (Alexander) is even halfway sane. Still, he’s not sure he can bring himself to love her when loving her might mean that he has to change the plans he has for his life.

This is the kind of movie that a lot of folks characterize as “fiercely indie” and that’s not in a good way. Not long ago these types of movies were all the rage at Sundance and Toronto, but these days more traditional storytelling seems to be more in vogue. That’s not to say that Gigantic is without merit. It’s perfectly cast and that cast is impressive, with all of them delivering solid performances at the very least.

Deschanel is one of those actresses who can make even an uninteresting role interesting and a too-quirky role seem more down-to-earth. She makes Harriet real and believable; in lesser hands the character would have been so annoying that Ellen DeGeneres might have been moved to punch her in the face. Dano has made a niche for himself as a somewhat deadpan character who displays little in the way of emotion except for occasional tiny cracks. It served him well in Little Miss Sunshine and it serves him well here. The romance between the two becomes believable.

This movie might have well made higher marks with me had they not tried so hard to be funny and quirky. Scenes like the one in the massage parlor are unnecessary and serve to jar you out of the overall mood of the movie; it’s like driving a car whose transmission is on its last legs. If they had just tried to tell the story of Brian and Harriet straight it might have worked out better.

Still in all, this is a solid film with several moments that are worth cherishing. It may not be the kind of indie film that breaks the mold but at least it gets points for doing what it does do very well.

WHY RENT THIS: Any movie with Zooey Deschanel is worth seeing. Great cast who all have their moments.

WHY RENT SOMETHING ELSE: The film loses steam in the last half. At times it feels like they’re trying too hard to be funny.

FAMILY VALUES: Some sexuality, a whole lot of foul language and some scenes of sudden violence make this a bit rough for the young.

TRIVIAL PURSUIT: Galifianakis’ role although listed as “Homeless Man” on IMDB, does not in fact appear on the film’s credits.

NOTABLE DVD EXTRAS: None listed.

FINAL RATING: 6/10

TOMORROW: Easy Virtue