Girl Lost: A Hollywood Story


Eighties flashback alert.

(2020) Drama (Breaking GlassDominique Swain, Cody Renee Cameron, Serena Maffucci, Moxie Owens, Leah Ann Cevoli, Psalms Salazar, Elizabeth Lamboy-Wilson, Emily Cheree, Christina Veronica, Thomas Haley, Mark Schaefer, Ryan Vincent, Natalie Fabrizio, Abby Latip, Leah Schaefer, Misha Suvorov, James Seaman, Corey Shane Love, Michelle Maylene. Directed by Robin Bain

 

There is a question that bedevils those that want to bring to the screen a portrayal of social ills, like sex trafficking; how do you bring that to the screen to decry exploitation without being exploitative yourself? It’s an extremely fine line and many well-meaning filmmakers are unsuccessful at navigating it.

The movie – a sequel to a 2016 movie in which the director starred – follows the stories of Hope (Owens) and Baby Girl (Salazar), the former a starry-eyed teen looking to escape an intolerable small town life with the promise of the glamor of being a model and actress, the latter a single mother with few options to feed, shelter and clothe her daughter. They are both enticed into the world of prostitution by Paige (Cameron) – Hope’s childhood babysitter – and Paige’s girlfriend Destiny (Maffucci), who are both out to make as much money as possible so that they can maintain a party hearty lifestyle.

While the exploiters turn a blind eye to the realities of the situation, the exploited deal with the psychological and physical fall-out of their profession (and not their chosen profession), falling into a spiral that they cannot escape from without outside intervention. It is the sad reality that a large number of young women have found themselves trapped in all over the globe.

Those who see prostitution as a victimless crime might come away with a different impression after seeing this. Certainly, there are some women who enter the game with both eyes wide open, and enter the trade with a plan to get out once they’ve made enough money and in fact choose to become sex workers. For many others, it is the only way out of desperation, or at least they have been convinced, either by others or themselves, of that idea. I remember a friend of mine in college who told me that if she flunked out of school (which she was in danger of doing at the time) that she would have no other choice but to become a hooker, because she had no other skills or work experience. Fortunately, she managed to stay in school. Not everyone is so fortunate, whether because of economics or other situations – not the least of which is drug addiction, which is an expensive proposition.

The question I asked earlier about walking the fine line is very applicable here because, in my opinion, Bain isn’t totally successful at walking the line between exploitation and drama. The ratio of sex acts to fall-out is probably higher than it should be; I get the commercial necessity of titillation in order to draw in an audience in order to get one’s message across, but that message is diluted by the erotic content in this case. It is further diluted by turning the story into a soap opera-esque miasma that is heavy on the suds and light on character development. It doesn’t help that the dialogue and acting are about at the level of a Cinemax late night skin flick.

That’s a shame because I think that the intentions of Bain are honorable. I am willing to give her the benefit of the doubt that she is out to call attention to a situation that year after year, continues to be ignored by society in general while the lives of hundreds of young women are destroyed, often ending in drug overdoses, murder or suicide. Happy endings, for these women, are exceedingly rare.

REASONS TO SEE: Definitely for those who loved lurid 80s softcore teen hooker porn.
REASONS TO AVOID: Takes what could be a serious subject and turns it into a turgid soap opera.
FAMILY VALUES: There is a whole lot of sexuality, some nudity and drug use, as well as plenty of profanity.
TRIVIAL PURSUIT: Craven’s day job is as a professor of film studies at Marlboro College in Vermont.
BEYOND THE THEATERS: Amazon
CRITICAL MASS: As of 12/26/20: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Angel
FINAL RATING: 5/10
NEXT:
Mark of the Bell Witch

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Embers


Lonely amidst the rubble.

Lonely amidst the rubble.

(2015) Science Fiction (Papaya) Jason Ritter, Iva Gocheva, Greta Fernández, Tucker Smallwood, Karl Glusman, Roberto Cots, Dominique Swain, Matthew Goulish, Silvan Friedman, Derrick Aguis, Brandon Bowens, Ryan Czerwonko, Nathaniel Andrew, Kirsten Kairos, Arianna Messner, Janice Culver. Directed by Claire Carré

Florida Film Festival 2016

It is said that we are really only the sum total of our memories, and there is some validity to that. But what happens when we take memory away? Are we still the same people we were with them?

In the not too distant future, a neurological epidemic has damaged the hippocampus of most human brains, leaving the survivors unable to form new memories. Everyone is forced to live in the present other than the privileged few like Miranda (Fernández) and her father (Cots) who live in a high-tech bunker with no other human contact.

Everyone else survives in a gutted wasteland, the crumbling ruins of a society no longer equipped to maintain itself. Wandering through are a girl (Gocheva) and a guy (Ritter) who are in love, but wake up every morning not knowing who the other one is, forced to fall in love all over again. There’s also a teacher (Smallwood) who is trying to find a cure, using logic and memory aids to help him remember what he is trying to do – and what he needs to do to survive. There’s also an angry, destructive teen (Glusman) who brings chaos wherever he goes. Finally there is a young boy (Friedman) who is trying to find someone to bond with, although he isn’t all that sure why.

For first time director Carré, this might have been a daunting prospect but she wisely tackled it in phases. I can’t say that it results in a cohesive whole – some of the stories simply do not mix with the others – but the results are impressive nonetheless. In fact, most of the characters don’t interact with others for the most part and the stories remain separate, rather than an anthology in which all of the threads end up coming together. Rather here, the threads are unraveling. Good science fiction isn’t necessarily about the technology (although the bunker sequences show some off nicely) but more about exploring who we are as individuals or a society. Our connections with other humans are largely based on memory; take that away and the anarchy depicted here is almost certain to result.

There is a tone here that can be likened to a malaise, although there are moments of action (particularly when Chaos is around) and conflict (between father and daughter). There is also some heartrending emotional sequences and even occasional bits of humor. Cinematographer Todd Antonio Somodevilla utilizes a lot of blues and grays in his palate, giving the film a feeling of further decay.  It also serves to make the mood a little more depressing and it is already not the most uplifting of films, if that’s what you’re looking for.

The performances here are tight and contained with a cast that is largely unknown (other than Ritter, who bears a resemblance to Ethan Hawke here, even more than to his own famous father). In this situation, even the adults become child-like, exploring the world for the first time. Carré elicits a good deal of pathos, but while there are moments of humor, there aren’t enough of them to give the movie the variety of tone it desperately needs.

This is more a movie for intellectual stimulation than emotional, which isn’t in itself a bad thing but sometimes the viewer needs a little of both. In some ways, the movie is terrifying – I can’t imagine anything worse than losing my memories and in the process, losing my self – and in some ways, it really does ask us to define who we are without the marker posts of our memory. I can’t complain about that to be fair – I do like to be challenged at the movies from time to time, and this movie certainly does that. All in all, this is a terrific debut from a promising talent.

REASONS TO GO: Fascinating concept. Excellent set design.
REASONS TO STAY: Far from uplifting.
FAMILY VALUES: Some sexuality, rape, violence and brief nudity.
TRIVIAL PURSUIT: While the events of the film theoretically occur in the same place, the movie was shot in three separate locations – Gary, Indiana, Lodz, Poland and upstate New York – in three separate sections, which were then interwoven during editing.
CRITICAL MASS: As of 5/29/16: Rotten Tomatoes: 71% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Blindness
FINAL RATING: 7/10
NEXT: Newman

Road to Nowhere


A noir setup.

A noir setup.

(2010) Thriller (Monterey Media) Tygh Runyan, Shannyn Sossamon, Dominique Swain, John Diehl, Cliff De Young, Waylon Payne, Robert Kolar, Nic Paul, Fabio Testi, Fabio Tricamo, Moxie, Peter Bart, Pete Manos, Mallory Culbert, Beck Latimore, Thomas Nelson, Bonnie Pointer, Jim Galan, Jim Rowell, Gregory Rentis, Larry Lerner, Lathan McKay, Michael Bigham, Araceli Lemos, Sarah Dorsey. Directed by Monte Hellman

I have heard it said that movies are a reflection of real life, and as time has gone by, real life has become a reflection of the movies. There is an awful lot of truth in that, sometimes more than we know.

Mitchell Haven (Runyan) is a moviemaker working on a film in North Carolina about a crime scandal. He has hired virtual unknown actress Lauren Graham (Sossamon) to play the role of Velma Duran (Sossamon), daughter of a Cuban national involved in an embezzling scheme with politician Rafe Taschen, played by actor Cary Stewart (De Young).

But art may well be imitating art as the director begins to fall for his leading lady, who may know more about the original crime than she lets on. And as flashbacks of the original crime tell us, the lines between movie and life are starting to blur significantly.

There is a definite noir feel here almost to the point of parody. Hellman is well-known for more anti-establishment sorts of films that tend to break rules and take chances. This is as mainstream a film as he’s directed (at least that I’ve seen), Silent Night Deadly Night 3 notwithstanding – it was subversive for its time as I recall (I haven’t seen it in almost 20 years).

I have to admit that most of my impression of Sossamon has been fairly rote, but she really shines here and proves that she is well-suited to a mysterious femme fatale role. She tends to get more sexpot roles and while she does well with those, the added air of mystery and potential mayhem really suits her. Not that Shannyn Sossamon is planning to murder anyone, mind you. She just plays someone like that on TV….or, in this movie.

One of the big problems here is that Hellman jumps back and forth from the movie to the crime (using the same actors playing the actors who committed the crime) and very often you are confused as to what you are watching which I suspect is deliberate on Hellman’s part. Fiction and reality collide and merge until it is impossible to tell which is which and perhaps that’s the whole point. It didn’t work for me however, possibly because I was being overly analytical about it. Sometimes it’s best just to let things kind of happen and allow them to wash over you without overthinking them.

This is a bit intellectual as noir films go, and a bit noir as intellectual films go. It’s really neither six of one nor half a dozen of the other and curiously unsatisfying when all is said and done. This isn’t the movie I would have expected Hellman to mount a comeback on. Not that I want to see him rehash his old style but I would have hoped for something a little less pedantic than this.

WHY RENT THIS: Sossamon is at her very best.
WHY RENT SOMETHING ELSE: Often confusing, particularly as to timeline.
FAMILY VALUES: Foul language (though not a ton) and a brief scene of violence.
TRIVIAL PURSUIT: This was Hellman’s first feature film in 21 years.
NOTABLE HOME VIDEO EXTRAS: A Q&A from the Nashville Film Festival and on the Blu-Ray edition, an interview with Sossamon.
BOX OFFICE PERFORMANCE: $161,619 on a $5M production budget.
SITES TO SEE: Netflix (DVD Rental only), Amazon, iTunes, Vudu, Google Play, M-Go
COMPARISON SHOPPING: The Shameless
FINAL RATING: 5/10
NEXT: The Bank Job