While Pursuing His Dream, a Young Man Finds His Wings

Zack Gottsagen (left) and Shia LaBeouf in
"The Peanut Butter Falcon"
Photo Credit: RottenTomatoes.com

The image of Huckleberry Finn and his friend, Jim, rowing down the Mississippi River on a raft is an iconic scene that captures the true spirit of adventure, all thanks to author Mark Twain.  To travel like this and embrace whatever possibilities that the land around of you can offer is a thrilling experience, something that makes you feel invincible and immortal.

This image’s intrepidness is shown in a similar fashion today in Tyler Nilson and Michael Schwartz’s comedy-drama, “The Peanut Butter Falcon,” an inspiring, funny, and heartwarming film that exemplifies the ageless story of finding your calling and never letting anyone tell you it’s impossible.

Zak (Zack Gottsagen) is a young man with Down’s Syndrome who’s living in a retirement home.  One night, he manages to escapes, and he soon meets a fisherman named Tyler (Shia LaBeouf), who’s on the run from some people he’s wronged.  Zak tells Tyler his dreams of becoming a wrestler and attending a wrestling school that’s run by his role model, The Salt Water Redneck (Thomas Haden Church).  Tyler agrees to help Zak reach his destination, all while a caregiver from the retirement home, Eleanor (Dakota Johnson), tries to find Zak.

With the film having cast an actor who has Down Syndrome, that authenticity allows us to able to become more absorbed in the experiences of Gottsagen’s character because of how he can relate to Zak.  Despite being a newcomer, Gottsagen has as much talent as the more experienced actors and actresses with whom he's working.  It's a performance where Gottsagen is able to reach his character's dramatic depth that makes you feel his ambition for achieving his dream of becoming a wrestler, while also exhibiting wonderful timing for his comedic dialogue.  Throughout the movie, I assure you that Gottsagen will make you smile and your heart soar.     

LaBeouf appears to be having a comeback year, as it not only includes this film (which has one of his finest performances), but also his semi-autobiographical drama, “Honey Boy,” in which he stars and also wrote (this is due for a release in November).  He exhibits the edge that his character possesses when we first meet him, only to have it broken down little by little as he spends more time with Zak.  The way in which he becomes close friends and a sort-of brotherly figure for Zak provides a heartfelt view of how Tyler sees Zak for much more than he is, and the understated emotions with which LaBeouf imbues his performance shows a character who's going through a lot, but is trying not to show much of it because he doesn’t want to be hindered from having Zak arrive at his goal.

Johnson is terrific as a kindhearted individual who's committed to maintaining Zak's well-being, at first trying her hardest to make sure that he stays safe, but then opening up to him as he takes risks to prove that he's capable of doing to whatever he sets his mind.  Johnson shows how much her character is dedicated to her work as a caregiver, and it's a performance where we know that she, along with Tyler, will make sure that Zak has the best life that they can give him.

The screenplay by Nilson and Schwartz has quite a bit more going on than the narrative suggests.  The story isn't just about the adventure of the characters, but also the family that they build out of their encounters.  Through their interactions, they open up with each other, providing the right amount of details that make their histories clear enough, while also holding back on certain things to allow us to think deeper about through what these characters have been.

At certain point of the film, we have flashbacks of Tyler and his deceased brother, Mark (Jon Bernthal), which draw parallels between Tyler and Zak, and are able to do so without hitting us over the head with how similar the situation between the two pairs are.  There isn't any dialogue in these scenes, which adds to the emotion of these segments because the images speak for themselves as they show us how close Tyler was to his brother.

As directors, Nilson and Schwartz avoid the film becoming too saccharine and instead allow the relationships between the characters to build without the use of forced emotion.  Because of this, it’s all presented in a such a way that isn't anything short of genuine.  They’re also able to build some tension when Zak and Tyler must evade those whom the latter has wronged, among other dangers.  However, for as much peril as there is, there's also plenty of beauty to behold as Zak and Tyler make their way across North Carolina, and the cinematography by Nigel Bluck displays the grandness of the region that reflects how significant of an undertaking that the duo's travels are.

While "The Peanut Butter Falcon" is a testament to the hard work of achieving your dreams, it’s also a tribute to how friends, and family, can come from anywhere.

Grade: A

Wanting to Party, a Group of Teens Falls in with a Menacing Matriarch - A “Missed It In Theaters” (MIIT) Review of “Ma”

Octavia Spencer in "Ma"
Photo Credit: Imdb.com

In 2016, filmmaker Tate Taylor gave audiences his first thriller with “The Girl on the Train,” an adaptation of Paula Hawkins bestselling novel.  It was clear that he had the filmmaking talent to deliver a movie in this genre, but he was held back by the average source material.  Thankfully, he had the wonderful performance by Emily Blunt to help him elevate the movie a bit.

This situation has happened again with his psychological-horror film, “Ma,” in which Taylor proves that he deserves better material for a thriller, but does his best and is saved (kind of) by a lead performance that gives this movie most of its limited entertainment value.

One afternoon, when looking to have some fun, high-schooler Maggie Thompson (Diana Silvers) and her friends (Corey Fogelmanis, McKaley Miller, Gianni Paolo, and Dante Brown) decide to buy alcohol.  While waiting outside the liquor store for someone of age to help them, they enlist the help of Sue Ann “Ma” Ellington (Octavia Spencer), who agrees to assist them.  She then allows them to come back to her house to drink and party.  After that first encounter, Ma becomes obsessed with them and keeps inviting them back to her house.  When Maggie and her friends start getting nervous and stop going, Ma's unwilling to take “no” for an answer.

Before this movie, Spencer has only appeared in very minor roles in three other horror films, with those being Jim Sonzero's "Pulse," Sam Raimi’s “Drag Me to Hell” and Rob Zombie’s “Halloween 2.”  With this being Spencer's first leading role in a horror movie, it’s clear that this genre is another area of film where Spencer’s talents can flourish.  In her role, she shows that she’s having a lot of fun with the character, relishing the dangerous persona of Ma and the absurdity of the story.  There are a few instances where Spencer goes into psycho mode, but for the most part, she plays the part pretty low-key, exhibiting an unsettling calmness as Ma plans her next sinister move to keep Maggie and her friends in her life.  Spencer is a frequent collaborator of Taylor’s, having appeared in three of his four previous feature films, and you can see that they bring out the best in each other.

The screenplay by Scotty Landes doesn’t take full advantage of the craziness that this concept can offer.  It’s a rather boring story that's held together by a terrific lead performance and some good direction, with the narrative playing out as you would expect it to.  Despite the young cast members being adequate in their roles, the material doesn't provide them with much to do, rendering them as your typical one-dimensional high-school horror characters.

The abundance of boring characters is more disappointing when you consider the use of actors and actresses who have collaborated with Taylor in the past: Luke Evans, who plays the father of one of Maggie’s friends; Missi Pyle, who plays Evans’ girlfriend; and Allison Janney, who plays Ma’s boss.  Given how much fun Spencer’s character is, it’s a shame that her role has to be played against characters who aren’t nearly as entertaining as hers.

Despite the disappointing script, there are flickers of a better narrative throughout the film.  There are themes of isolation and abandonment that are brought up, but not explored to their fullest extent.  What's more intriguing is an understated display of racial tensions that the film includes, which connect to Ma's past.  This can be seen in the flashbacks of Ma as a high-school student, with her seeming to be the only African-American student at her school, which is hinted in a climactic scene where adult Ma poses with Maggie's drugged-up, unconscious friends for a malevolent yearbook photo, and paints the face of their African-American friend white and says, “They’ve only got room for one of us."  If the film had delved into these themes more, it could have stood alongside this year's more memorable horror films.

Other than handling the middling “Girl on the Train” the best that he could, Taylor has shown that he’s a capable director, which he exemplified with the adaptation of Kathryn Stockett’s novel, “The Help,” and the James Brown biopic, “Get on Up.  Given how Taylor can make something even a little entertaining out of mediocre thriller material, you can’t help but imagine what he can do when provided with a thriller that has more substance to it.  He can create a few tense moments, but it’s not enough to make the film rise above its Lifetime-thriller qualities.

This movie could have offered some demented fun and unexpected smarts, but even Spencer’s memorable performance might not be enough to make you accept an invitation over to Ma’s.

Grade: C+

In a Deadly Game, a Family Has it Out for Their New Addition

Samara Weaving in "Ready or Not"
Photo Credit: Imdb.com

Hide-and-seek is pretty much a staple of horror movies.  Not the game, but the act of concealing yourself from whatever danger may be looking for you.  As simple and overplayed as a concept like that is, there’s some life injected into a new horror film that presents it in a bonkers new way.

This is all thanks to directors Matt Bettinelli-Olpin and Tyler Gillett for their horror-comedy thriller, “Ready or Not,” an insane and fun movie that’s lifted up by a memorable lead performance from Samara Weaving and a game supporting cast, as well as plenty of laughs and suspense.

Grace (Weaving) has just married Alex Le Domas (Mark O’Brien), who belongs to a family that’s as strange as they are wealthy.  On their wedding night, Alex’s family has Grace participate in a game, as is tradition whenever someone marries into their family.  For Grace, the game that’s selected is hide-and-seek.  Not too long after the game begins, Grace realizes that Alex’s family intends to kill her before dawn approaches, and she must figure out ways to outsmart them at every turn.

Weaving delivers a ferocious and funny performance as a bride who must fight back against her crazy in-laws.  However, before she turns into a character who must tap into her fighting skills, what makes her role engaging is how we’re introduced to her as someone who’s feeling somewhat uncertain about the marriage because of how she doesn’t believe that she belongs in the family, due to their upper-class stature.  Weaving shows her character as being a bit self-conscious due to this, but is also able to be understatedly witty about it in order to calm herself down.  As we move into the hide-and-seek portion of the movie, Weaving establishes a perfect balance between fright, bravery, and humor, which is a perfect fit for the tone of the movie.  Weaving absorbs herself into the deadliness of the scenario, and through fiery retaliation, she’s able to show us that Grace’s survival instincts should have the Le Domas family on high alert because of her character’s willingness to fight back, letting off a don’t-mess-with-me attitude that gets the audience pumped to see which methods she will use to take down the family that has turned on her.

The supporting cast, which includes Andie MacDowell and Henry Czerny as Alex’s parents and Adam Brody as his brother, are all given an opportunity to stand out.  Given the type of film that this is, you would probably expect pretty much all of the supporting characters to be one-dimensional.  However, the story provides a few of the top supporting players, particularly MacDowell, Czerny, Brody, and Nicky Guadagni as an aunt who’s more than ready for the hunt, with little bits of depth that bring them beyond just being bloodthirsty killers.  For the others, although they’re not given quite as many distinguished details as other characters, they’re still given enough of a chance to entertain us with their out-there personas.

The screenplay by Guy Busick and R. Christopher Murphy utilizes a core premise that has some familiarity to it, but it’s played out in a unique way that keeps you invested in the story, and the narrative spends plenty of time establishing the family and letting us become familiar with each member.  Throughout the film, there are also some shared bits of the Le Domas family history that gives you an idea of how rooted they are in their customs.  With these details, we see the kind of family into which Grace is marrying, allowing us to know what’s at stake for her as she becomes involved in this twisted tradition.

An intriguing aspect of the film is how it blends old and new sensibilities of the family.  With the old, the action takes place in a mansion whose interior would have fit the style of a century ago, and the characters use old-fashioned weapons for their hunt, as is part of the tradition that started so long ago.  With the new, we have the use of modern technology at certain points during the game.  Because of this old-vs.-new approach to the film, it helps emphasize the notion of the tradition being decades and decades old, but still being implemented in modern times.

Bettinelli-Olpin and Gillett have a gleeful time in executing the pursuits throughout the mansion and fights between Grace and the family members who stand in her way of survival.  As Grace is hunted, the filmmakers provide plenty of details of the environment in which Grace finds herself.  With the help of cinematography by Brett Jutkiewicz, they bring you down the long, open hallways, through the secret passages, and into the many rooms, and this helps us experience Grace’s anxiety because, just like her, this place is unfamiliar to us, and we don’t know anymore than what she does about the layout of the house.  With this, there’s also a feeling of being closed in, despite the spaciousness of the mansion, and this is due to the hopelessness that one would feel when being trapped and hunted by a group of unhinged individuals.

The directors allow for a mix of over-the-top performances and some grounded dramatic acting. These shifts in tone occur as we go between characters who are crazed killers, and some who are conflicted about carrying out their family’s evil customs. The directors are able to maintain these tonal changes without anything feeling out of place because you feel like most families can relate to this dynamic in one way or another (minus the bloodshed), with some people wanting to adhere to their traditions, while others begin to question them.

Between its memorable characters and the story having more on its mind than one would anticipate from this type of film, “Ready or Not” is a hide-and-seek movie that’s a true find.

Grade: B+

*You can also check out this review on SiftPop.com!

Review: "Blinded by the Light"

From left: Nell Williams, Viveik Kalra, and Aaron Phagura in "Blinded by the Light"
Photo Credit: Imdb.com

Check out my review for "Blinded by the Light" on SiftPop.com!

When a Mysterious Book is Found, the Horror Within It Comes Alive

Zoe Colletti in "Scary Stories to Tell in the Dark"
Photo Credit: Imdb.com

When I was in middle school, Alvin Schwartz’s book series, “Scary Stories to Tell in the Dark,” would be on display in the library around Halloween.  Although the front covers were shiver-inducing, I couldn’t resist opening the books and gazing through the pages of Schwartz’s bone-rattling tales and Stephen Gammell’s haunting illustrations.  These stories were a staple of October festivities, and they always offered terrific frights.

Director André Øvredal brings Schwartz’s work to life with “Scary Stories to Tell in the Dark.”  Before this, Øvredal dabbled in horror with the 2010 found-footage dark fantasy film, “Trollhunter,” and the 2016 supernatural-horror film, “The Autopsy of Jane Doe.”  With these two films, he showed potential as a filmmaker, and he makes a confident jump to mainstream, bigger-budget fare with his latest outing, complete with talented newcomers, chilling atmospherics, and respect for the source material.

In Mill Valley, Pennsylvania, on Halloween night of 1968, Stella Nicholls (Zoe Colletti), Ramón Morales (Michael Garza), August Hilderbrandt (Gabriel Rush), and Charlie Steinberg (Austin Zajur), venture into the abandoned house of the Bellows, a troubled family of local lore who helped establish the town.  When they find a book of scary stories and bring it back home, it soon begins to write new stories on its own, and Stella and her friends realize that they’re the next victims of the horrors that the book brings to its pages.

Although the characters are archetypes that we’ve seen before, the young cast members all connect well on screen and seem like they’re having a great time with their roles, all of which helps us become invested in them as they face deadly circumstances.  However, the two standouts of the cast are Colletti and Garza.  Colletti is able to bring out effective bouts of emotion in the film’s more pivotal moments.  And, Garza exhibits restrained, but powerful feelings when he must face his personal problems, being able to show the weight that such issues place on his shoulders.

The screenplay by Dan and Kevin Hageman takes its time establishing the setting.  We spend the first 15 minutes or so getting to know the characters before they find the book, an approach that prevents them from becoming deposable horror-movie characters, but instead characters about whom you care.  When it comes time for the screenwriters to incorporate Schwartz’s stories into the film, the Hagemans are able to find a way to do so without having it feel cobbled together.  Another memorable aspect of the screenwriters handling the stories within the film is how, for most of the characters, they make the tales connect with the fears and personal troubles that they experience, which adds a little more depth to the roles.

The Hagemans utilize the ‘60s setting to a great degree, but one of the most effective aspects is how it connects the Vietnam War to one of the characters and have him face how it has impacted his life.  It’s something that you wouldn’t expect from a mainstream, PG-13 horror film, but it works.

Guillermo del Toro is one of the film’s producers and has a “story by” credit (along with Patrick Melton and Marcus Dunstan), and you can see the influence that del Toro has on the movie, particularly with the creatures of the stories within the film.  From the Toe Monster to the Jangly Man to Harold the Scarecrow to the Pale Lady, these are entities that you can imagine appearing in a del Toro film.  They’re not run-of-the-mill demons with boring designs, but rather have quite a bit of creepiness to them.  The way these creatures are constructed, whether it be through practical or special effects, helps bring you into the unsettling world of Schwartz’s stories.

Øvredal re-teams with his “Autopsy of Jane Doe” cinematographer, Roman Osin, to make effective use of the dark, whether it be in capturing the classic haunted-house setting of the Bellows’ home, or during a tense sequence at a police station in the film’s third act.  One of his most effective uses of Osin’s lighting is during the scene with the Pale Lady in a mental hospital, which has her slowly approach her victim within hallways that are bathed in red light.

Although Øvredal uses a few jump scares that are pretty much telegraphed to you, he does well in building up tension in other parts of the film.  What he does best in the movie is balance the level of horror for different age groups, being able to maintain a level that would appeal to younger audiences and introduce them to the horror-film genre, while also appealing to the older audiences who grew up with Schwartz’s books.

Halloween is still two and half months away, but “Scary Stories to Tell in the Dark” proves that it’s never to early to begin the frightful festivities.  Just as these are tales that would be read under the covers with a flashlight, or told around a campfire, it’s just as much fun seeing them play out in the darkness of a movie theater.

Grade: B+

After an Unsettling Discovery, a Promising High-Schooler is Questioned

From left: Tim Roth, Kelvin Harrison, Jr.,
and Naomi Watts in "Luce"
Photo Credit: RottenTomatoes.com

Director Julius Onah’s psychological drama, “Luce,” is a film where it’s impossible to pin down who’s telling the truth, and who’s telling lies.  Your questions pile up as the story goes on, and you start to not do anything else but second guess yourself at every turn.  This film is relentless in its suspense, and it’s impossible to be relaxed while you’re watching it.

Luce Edgar (Kelvin Harrison, Jr.) is a high-school student who was adopted from a war torn country as a child.  He now lives a peaceful, suburban life with his parents (Naomi Watts and Tim Roth) and excels in both academics and athletics.  However, when Luce’s teacher, Ms. Wilson (Octavia Spencer), finds something disturbing in his locker, speculation will soon be made as to what secrets Luce is hiding.

Harrison, Jr., makes an incendiary, star-making performance in the lead role.  He’s able to win us over with Luce’s charisma, but also has us suspicious of him when he acts as if he knows more than he’s letting on.  The success with which he plays both sides of this character has us always switching alliances, as sometimes we want to support him, but at other times, we feel as if we shouldn’t.  However, no matter which side you’re on, you always manage to feel some sympathy for Luce when he’s confronted with the notion of being expected to carry himself a certain way, and this helps you understand the conflicted nature of his feelings.  With this being one of Harrison’s first leading roles, seeing him be able to show his character as equal parts friendly and threatening, and sometimes blending them to an unsettling effect, helps make this one of most unforgettable films of the year, and Harrison ensures that Luce is a character who will stand out during the rest of the year. 

Watts and Roth are superb as a mother and father who pride themselves in their son’s accomplishments, but must come to terms with having to choose between whether to believe him, or the accusations of others.  As you see them go back and forth between these two choices, the emotion that they put into their portrayals makes you feel in your gut how difficult it is for them to figure out if they went wrong somewhere in their parenting.  They ponder what they’ve given up in order to care for Luce, wondering if they’ve provided Luce with everything they were supposed to, and seeing them navigate a minefield of uncertainty concerning their son is as tension-filled as it is heartbreaking. 

Spencer is powerful as a character who might be as troubling as Luce.  We have every reason to believe that she’s looking out for Luce’s best interests, but that she also might have some resentment towards him, and the actions that her character takes can work for either side of this coin, making Ms. Wilson an ambiguous figure, just like Luce.  It’s a role that has Spencer’s character anchored in her intentions, and the intensity of Spencer’s performance makes Ms. Wilson’s interactions with Luce an enthralling battle of strong-willed personas.  The film also has an exploration of Ms. Wilson’s personal life, and the way in which Spencer shows her character handling these personal stresses adds a rich layer to Ms. Wilson that connects well with her arc involving Luce.

The screenplay by Onah and J.C. Lee, which is based on the latter’s play from 2013, sheds light on topics such as privilege, race, and the weight of people’s expectations, among other things.  Given how many topics this film tackles, there would be a risk of the ideas taking focus away from each other, but Onah and Lee manage to devote enough attention to each topic, with everything coming into a whole as the movie goes on.  Even when you witness to what all of this leads up, you still sit there going over everything in your head to figure out with which side you agree.  With several characters giving their own viewpoints pertaining to events of the story, this creates an absorbing tapestry of who should and shouldn’t be trusted.  Because of this, you’ll want to see this movie with a friend, due to the fervent discussions that are sure to commence once the movie is over. 

Onah’s direction always has you in an anxious state because of the constant unpredictability of the story.  You’re always prepping yourself for something to happen because every scene carries that possibility as the dialogues between the characters continue to build the tension.  Onah proves that, a lot of the time, these kinds of verbal spars between characters are all you need to create sweat-inducing anxiety.  Each sentence that’s spoken is a piece of a puzzle that becomes more and more complicated as the film goes on, and you’re left fixated on this quandary and trying to figure it out.  Given the many perplexities to the narrative, prepare to spend quite a bit of time thinking about it.

In the end, “Luce” is a movie about the perceptions that we have of people, whether they be right or wrong, which is appropriate because this film isn’t what it seems.

Grade: A

For a Beekeeper, Her Life’s Work is a Labor of Love

Hatidze Muratova in "Honeyland"
Photo Credit: Imdb.com

Back in the spring, indie film studio Neon released the enthralling documentary, “The Biggest Little Farm,” where they explored the intimate connection of humans and nature, all in a story about a couple building a farm.  It dove into the fascinating inner-workings of the science behind their operation, showing the lives of the animals and plants in beautiful detail as they work together to construct the intricacies of the farm.

Neon has done it again with Ljubomir Stefanov and Tamara Kotevska’s gorgeous documentary, “Honeyland,” which sweeps us away on a journey of a woman’s tradition that soon faces a threat from those who don’t understand it.

Hatidze Muratova is one of the last Macedonian beekeepers, making a living by selling the honey that her bees create, and always leaving half for them.  When a family of seven moves in near her and plan on making honey with just profits in mind, Hatidze’s way of life will soon be clouded with uncertainty.

The cinematography by Fejmi Daut and Samir Ljuma does superb work in capturing the natural environment that surrounds Hatidze’s home.  In the first scene, we see her walking through valleys and scaling mountain ledges to reach one of the places where she cultivates her bees, and the rest of the film delivers landscapes that are just as stunning.  We see the meticulousness of Hatidze’s work, showing the dexterity with which she performs her beekeeping, which gives us an idea of how long she’s been doing this.  Through all of this, we’re immersed in this beautiful part of the world that we feel lucky to be witnessing on a big screen.

As we watch the new family become acclimated to their fresh surroundings, it’s intriguing to see Hatidze interact with her neighbors, after being alone on the land with her mother for so long.  These benevolent interactions are rendered heartbreaking once Hatidze realizes that the family’s intentions for cultivating bees isn’t for anything more than monetary gain.  We see the strong contrast between Hatidze’s methodical, caring approach to making honey versus the family’s carelessness that’s caused by dollar signs in their eyes.  It’s an emotional storyline as we begin to see Hatidze’s work threatened by those who aren’t as in tune with beekeeping as she is.

Besides the part of the documentary that focuses on the interactions between Hatidze and her neighbors, there’s also a heartwarming plot thread about Hatidze’s dedication to caring for her 85-year-old mother, Nazife.  The mother-daughter relationship shows that, despite Hatidze working all day with the bees, she always makes sure that her mother is fed and rested.  The way this loving and humorous bond is presented shows Hatidze’s deep commitment to her mother as they reside in their hut, eating, talking, and seeming as if all that they need is each other.

An impressive aspect of this movie is how, even though it’s a documentary, it plays out like a drama.  There aren’t any instances in which the subjects talk to the camera or provide narration.  Instead, Ljubomir and Kotevska have events play out in front of them without any sort of interference.  Because of this, you’re given an idea of what a day in the life is like for Hatidze, and it isn’t anything short of fascinating.  You see all of the hard work that goes into her daily routines, and you feel that there’s a sense of enjoyment that she receives from this lifestyle and a strong connection that has been formed between her and her work after doing it for a lengthy period of time.

Ljubomir and Kotevska create a profound portrait of this corner of the world and the traditions that go along with it.  The movie is just under an hour and a half, but when you come out of the movie, you feel as though you have learned so much about Hatidze and people within her life.  The film spends a near equal amount of time on both Hatidze and the family, so we’re able to see the impact that they have on each other, as well as the dynamics that occur within the separate households.  Ljubomir and Kotevska make the most out of every minute that they present to us, resulting in a richness in the details as we examine the countless, valuable things that nature can teach us.   

“Honeyland” is a beautiful odyssey that takes you through the lifestyle of a woman who does something extraordinary with her passion, which treats us to a film that deserves all of the buzz that comes its way.

Grade: A

Despite People’s Doubts, a Group of Women Turns the Tide in a Yacht Race

Tracy Edwards in "Maiden"
Photo Credit: Imdb.com

“The ocean is always trying to kill you.  It never takes a break.”  As we open on Alex Holmes’ emotional, thrilling, and inspiring documentary, “Maiden,” these words from sailor Tracy Edwards are heard over images of rolling waves, waves that are as beautiful as they are frightening.  It’s in this image where he introduces us to the dangers that any boaters can encounter and gives us an idea of what the team of sailors at the focus of the story had to endure to make their dream a reality.

In England 1989, Edwards decides to enter the Whitbread Round the World Yacht Race, where she intends to put together the first all-female crew and make an impression on an event that has been male-dominated since its beginning.  With an intense determination, Edwards and her team set out on their boat, “Maiden,” for a race that will have them travel over 32,000 miles for a months-long journey.

At the beginning of the film, Holmes explores Edwards’ home life and what made her become a sailor.  Having faced many difficulties after her father’s passing, Edwards’ becomes an adventure seeker, searching for a freedom that can bring her new opportunities.  With the details from these years of Tracy’s life, we’re able to connect with her more and understand why sailing begins to appeal to her.  It’s an example of how some of the worst moments in your life can lead to some of the best, and watching her as she begins to put the pieces in motion for the vast undertaking that will change the lives of her and her crew will have you enthralled as they overcome one obstacle after another.

Holmes provides an in-depth view of the many challenges that Edwards and her crew come up against, even before they start the race.  From fixing up their boat to securing a sponsor, their journey to get on the water proves to be almost as difficult as when they get on the water.  As the outlook becomes brighter for them, we’re elated to witness the group getting closer to achieving their dream of being a part of the race.

Through interviews from Edwards and her crew, we’re given insights pertaining to their jobs on the yacht, what this endeavor means to them, their worries, and their hopes.  The insights that they provide from their experiences offer a fascinating and motivational view of what it means to go beyond what others think you’re capable to accomplishing, and you’re drawn into their commitment to see the task through to the finish line and make history.

Holmes gives us a look into the legs of the journey as the women spend months at sea, battling the elements as they strive to do what many thought that this group couldn’t do.  We see how difficult this race can become, sailing across unforgiving waters that have you living under the constant threat of disaster.  There are also the physical and emotional tolls that impact Edwards and her crew, but one of the best parts about the journey is when we see them putting those factors aside in order to focus on the task at hand.  They don’t intend to get sidetracked from why they’re on the water, and the dedication that they all display surges throughout this uplifting underdog story.

The second leg of the journey is the most intense, where we see the crew battling life-threatening conditions as they travel from Punta del Este, Uruguay, to Fremantle, Australia.  As they travel through waters that are within the Antarctic region, they must face rough waters and freezing temperatures.  However, this makes the following scene all of the more satisfying, which shows them placing first in the second leg.  This is one of several scenes that leaves a huge smile on your face because of how proud you are to watch Edwards and her team rise above the skepticism of many.   

“Maiden” has Holmes creating a celebratory testament to the importance of never letting your dreams be viewed as impossible, and also about how hard work is its own reward.  This is a story that must be experienced, one that will have you cheering as Edwards and her crew leave all of the naysayers in their wake.

Grade: A