Red Rocket: Der Mit der Hunderute

What a waste of time. The film totally collapses during the last thirty minutes.

Granted, it's a pretty grungy film. Nobody to like. I realize "that's" the point, but I finished it, and regretted the decision.

Basically, you should just watch "Boogie Nights." It addresses the porn industry so much more efficiently.

Simon Rex is good in the lead role. He deserves some good parts.

The ending is weird. I honestly have no idea, what actually happened.

The production is low-budget, and technically, handled well.

But overall, the whole thing feels really "empty." I was expecting more nuance.

A disappointment.

I looked up Red Rocket on Urban Dictionary and hahaha isn't that an accurate movie title.

Man oh man Sean Baker, you are quite something. Just like Florida Project, this was a gorgeous and phenomenal movie.

Simon Rex was a force to be reckon with. There wasn't any moment where I was bored with the guy. The dialogues along with his incredible charisma propelled the pace of this movie to become exciting and a bit anxiety-filling. Even more, he made what already a great script more investing.

The cinematography again was out of this world. A poor neighborhood in Texas somehow looked like a dream world.

Again, Sean Baker used the bizarre colors, cute shapes, and isolated locations of the houses to suggest a fantastical and ambiguous interpretation of the story. I think for this part, Red Rocket had a slight edge over Florida Project because the ending in Red Rocket was smoother and made more sense.

Overall, an absolutely magnetic movie. 9.5/10.

Red Rocket continues Sean Baker's streak of deeply empathetic cinema, but instead of using his lens to capture the inner lives of the downtrodden and vulnerable, as he's done in his previous films, we are instead let into the mind of a con man and serial abuser.

Mikey Saber starts out like many a Sean Baker protagonist- likable and magnetic if a little rough around the edges. But where we would usually find over the course of the film that this magnetism is masking a deep sadness or complexity, we instead come to learn that Mikey Saber's charm masks something much more insidious. We, the audience, can only watch in horror as he drags a naive teenager into his schemes and leaves behind a slew of ruined lives in his wake. It's a challenging and often frustrating film, but like its wily protagonist, it was able to charm me and win me over, purely by the virtue of its chutzpah.

6/10 - Simon Rex proves that he is certainly an actor capable of drama films and someone to take seriously, but as the credits abruptly began to roll, I could not help but ponder what the meaning of the film was and why I spent over 2 hours investing in it.

In an industry that loves to tell stories of how America used to be or how it wants to see itself currently, Baker bravely holds up the mirror of reality to a denial driven medium. He can do this without reproach because the sincerity and truthfulness of his characters resonate so deeply as to make them unassailable. In each of his films we see characters shoved to the margins of the masses, but as his body of work grows we realize these people are not so ancillary but instead, quilted together, make up the mosaic of our true identity.

His latest subject is Mikey Saber, played exquisitely by Simon Rex, a former porn star returned to his long forgotten small town of Texas City. Mikey is affable enough but also shamelessly self-serving and utterly incapable of feeling any personal responsibility. We learn in the first 10 minutes of the film that our "hero" is in fact our villain, but we are given no respite from following him through his deceits for the entirety of the runtime. There are no moments of saving grace or deeper understanding of his character. Because he never aims to understand himself. He lies and embellishes his accomplishments, yet there is a weird earnestness to the proceedings. He is narcissistic but not intentionally malicious. There seem to be no ends to his means outside of self-preservation and a padding of his irreparably broken ego. His lies he tells, how quickly he is to interject his modest celebrity, and his propensity for deflecting all blame, all serve only his own fragility.

It's a singular character study and this is all without mentioning a single other character, several of which could carry their own film. Most notable is the nearly 18 year old girl, Strawberry, who is the aim of the nearly 50 year old, Mikey's, affection. She represents that awkward cross-section many young women exist in between maturity and naiveté. She is smarter, brighter, deeper, and certainly better than Mikey and, yet, considerably less wise. You unfortunately can't fake wisdom, you simply have to earn it. She falls prey to his promises and will likely be the next victim of his uncalculated chaos.

The movie has so much insight to offer while also being outlandishly funny. All of this has not even scratched the surface of the psychology of this movie. From the subtle but very intentional political commentary, to the examination of what "physical endowments" can have on the masculine psyche and confidence, this movie is deceptively weighty, while also being a trashy good time.