Story Ave

So it like this, the movie story was not bad, but i had a problem connecting with the main characters.

Both Kadir Grayson and Luis Torres had something bad happened in their life and were suffering. Over the movie after they crossed paths, we saw them connecting and becoming good friends. But they didn't really talk that much, the kid Kadir was mostly sketching his brothers face in his scrapbook, while Luis seemed to be constantly getting drunk. They were both running from the reality, because they couldn't face it.

The movie is long enough and it could show us a little more detailed story. It just feels like the movie was missing a spark.

A high school kid in the Bronx, chastened by the accidental death of his brother and alienated by his emotionally-drained mother, turns to a criminal gang as a way of channeling his artistic gift with spray paint. What first seems like a safe haven soon becomes a sure path to ruin. However, his first attempt at mugging someone takes an unexpected turn where he finds a confidant and mentor whose unsentimental but sympathetic advice offers a glimmer of hope and motivation to make something of himself.

Luis Guzman, whom I've never seen in any demanding or significant role, is superbly genuine in this film. From the moment he comes into the film, his unassuming, but worldly-wise demeanor serves as a strong counterweight to the young man's clueless fumbling at his attempted life in the streets. This film offers a sobering message of hope for those who recognize their own promise. This is a work of granite integrity. Strongly recommended.

Greetings again from the darkness. The first feature film from writer-director Aristotle Torres and co-writer Bonsu Thompson is adapted from their 2018 short film of the same title, with a boost from Sundance Labs. It's a coming-of-age story set on the streets of the Bronx, as the characters deal with grief, loss, and searching for connection and their place in this world.

High School senior Kadir (Asante Blackk, LANDSCAPE WITH INVISIBLE HAND, 2023) is emotionally crushed by his brother's death, and a sense that his mother blames him. Kadir can't handle this pressure and takes his talent as a graffiti artist and tagger to the local crew leader Skemes (Melvin Gregg, THE WAY BACK, 2020). As Kadir struggles with his desire to fit in, he's also presented an option by the school counselor to attend art school. Kadir is one of the few who actually have a shot at escaping the streets, but he's so drawn to the loyalty required to be part of the crew that he accepts Skemes assignment to rob a local at gunpoint.

With his familiar face and a presence in so many movies and TV shows since the 1980's, Luis Guzman shines as MTA Worker Luis ... the man Kadir randomly chooses to rob. However, there is more to Luis than meets the eye, and soon he has talked Kadir out of the robbery and into accepting his coat, a hot meal, and a place to sleep. This kindness confounds Kadir, but he reluctantly accepts the new father figure, though the boy is oblivious to Luis' own demons and struggles. The film's best scenes include Luis and Kadir, and sometimes Gloria (Coral Pena, CHEMICAL HEARTS, 2020), the waitress who shows off her own photographs to Kadir, in hopes of helping him understand how art can expand one's perspective.

Director Torres creates a believable environment, and rising star Asante Blackk and screen vet Luis Guzman are both terrific. Watching Guzman's character guzzle wine while he sings and dances and cooks in the kitchen is a real hoot - and a reminder that Guzman is a treasure. Luis provides a life lesson to Kadir that is bigger than the movie when he says life is messy and we are usually responsible for making our own mess. It's such a true and powerful message for so many. The only weak link here is having the main characters spell out their relationships and feelings in the final act. This shows a lack of faith in the viewers and actually weakens the ending. Otherwise, it's an easy one to appreciate.

In theaters beginning September 29, 2023.

Having watched this film, I couldn't help but notice numerous missed opportunities. While the story, though unoriginal, had a pleasant vibe, the portrayal of The Bronx was captivating. Despite my appreciation for hidden gems, Story Ave fell short. With the exception of Luis Guzman, a compelling actor, the rest of the cast was mediocre at best. The portrayal of thugs seemed more like theater kids playing tough rather than authentic Bronx street individuals. Emotional connections within the story felt disjointed, and the cinematography, marked by some unengaging shots, gave off an experimental student film vibe. Regrettably, Story Ave comes across as a short film stretched into a feature length.

For many at-risk youth, there comes a turning point where they can head off in one direction or another, each with vastly different long-term outcomes. For South Bronx graffiti artist Kadir Grayson (Asante Blackk) - a gifted illustrator with real talent who's desparately struggling to find himself and reconcile his grief for the loss of his younger brother - that comes when he falls in with the wrong crowd and fails at proving himself in an unsuccessful attempt at holding up a aging but streetwise transit worker, Luis Torres (Luis Guzmán). Instead of filing charges against the confused young man, Luis takes Kadir under his wing to help him straighten out his life before it's too late. It's an uplifting and heartwarming tale, albeit somewhat clichéd and predictable at times, especially when it comes to the overlong wait for certain all-too-entirely expected revelations to surface. Nevertheless, director Aristotle Torres's debut feature provides viewers with more than its share of time-honored wisdom and hope for those who could easily end up following a different and more destructive course. The fine performances of Blackk and Guzmán convincingly sell the material, which is presented with compelling cinematography and film editing, though the sound quality can stand some improvement, particularly in the opening half-hour, when the dialogue becomes almost unintelligible at times. Still, there's much to be said for the insights served up in this intergenerational coming of age drama, proving that there's always a possibility to set things right, even when they seem to be headed in an irretrievable downward spiral. And that's a "story" that's more than just a street name.