The Sweet East

Just here to say I loved the film. The dialogue is well written, made me laugh and snigger throughout. Simon Rex and Talia Ryder got me glued to the screen. Now I'll have to follow whatever these two are starring in next..

The story of the Sweet East starts with a song, sung by a continuously sullen Lillian.. I loved the song and thought this was such a good way to introduce the audience to the character, because everything you need to know about Lillian is in the delivery of the song.

Then begins a 'coming of age' story, following this smart yet clueless, single-minded yet insecure girl.

It really reminded me of my own teenage self and the way I imitated people, took over habits, was intimidated by peers, had power without realising it, got lost, screwed up, was approached by men, used my looks to my advantage and experimented with it with zero care about the impact it had on others.. I thought this was the most realistic depiction of female teenage-hood I've seen on film in a long time.

Really hope to see more from the director Sean Price Williams and the main actors. Talia Ryder Simon Rex and Ayo Edibiri particularly are very fun to watch.

This happened and then this happened and after that this happened.

In 1973, a British movie called O Lucky Man was released with a similar story structure. Namely, a protagonist falls from one improbable situation to another whilst passing commentary on the world around us.

In this movie, all sorts of 'thrilling' adventures befall Taila Ryder as she is led from one implausible situation to the next. An activist, ingenue, actress, thief, prisoner, etc. Until its disappointing climax.

Ryder is good as the nonplussed main character, the script seems largely improvised, the plot doesn't exist and the poor quality film stock and directing style made me want to shower after watching it.

It quite good with some reservations.

Since the director was cameraman on the film Good Time, I had high expectations. But the film was a disappointment. Poorly acted, implausible situations, tedious drawn-out conversations (blah blah blah about Edgar Allan Poe etc).

Magic movie? All in wonderland? Punk fairy tale? None of that. The makers are still all adolescents and it shows, there is no fondness in it. Just Fried Air. I imagine Young people who haven't seen many films yet could probably find it special or so

I'm open to a lot ( I read references to John waters in a review ) but after three quarters of an hour it becomes too much for me, so I quit, life is too short to spend on bad movies like this one.

The movie follows a girl named Lillian, who, on a whim, decides to run away and embarks on a journey across America. Along the way, she encounters a series of extreme characters, each representing different facets of society.

Lillian to written to be as apathetic, opinionated, and jaded and for most the movie she remains this way. So I think Lillian serves as a lens through which we observe these encounters, not an actual driver of the plot simply there.

Interestingly, she remains largely unchanged by the experiences she goes through, which for me raises questions about her character's depth. While the diverse individuals she meets have profound stories and perspectives, Lillian's lack of development can make it feel like we're missing out on deeper reflections on these interactions.

This is why the story might have benefited from being a series rather than a standalone film. In a show format, Lillian could have had the space to reflect on her experiences, allowing her character to evolve in response to the people she meets. She doesn't have to change as a person because I think how she was written is also central to the message of the movie but there simply isn't enough breathing room in the movie, and there would have been some wonderfully emotional scenes if there was just the chance to.

This is exactly the TYPE of movie I feel we need more of now, so I really wanted to like it, but sometimes that is not enough. I was originally drawn to this film by mere way of its casting and a few blurbs I'd read about it, making it out to be some indie wonder. The tastefully selected cast is primarily made up of actors who have broken through more recently like Ayo Edebiri and Jacob Elordi, obscure pseudo-celebs like Gibby Haynes and Andy Milonakis, transgressive underground NYC filmmakers like Betsey Brown and her brother Peter Vack, and no-names, and that alone spoke volumes to me.

When I started watching the movie, I discovered that it was directed by the DP of Good Time, one of my favorite movies of this entire century. With the tone and pacing of the first 15 minutes, I really thought I was going to love this movie. It moves quickly, barreling through people and places, almost faster than you can keep up with as a first-time viewer. The style of cinematography has a certain raw value reminiscent of 90's/2000's stalwarts like Harmony Korine or Larry Clark, or more modern films that also channel that energy like the wonderful American Honey. There is value in the believability of youth that is portrayed in this film's early segments - the true energy of college age kids going wild together is captured. Then, we hit the opening credits, which are also mystifying in their own way. Lead actress Talia Ryder lip syncs to a whimsical fairy-tale esque ballad while gazing at herself in the mirror - it is then that it becomes clear that Ryder will be the focus of the film, and it doesn't seem like a bad thing as she is gorgeous.

However, things change after the title card. The pace slows down to more of a butter churn for most of the remainder of the film, and the structure shifts into a rather familiar, and in this case, somewhat redundant, and aimless one. "She's on an aimless adventure and everyone wants her", would be the easiest way of summing it up. This is a structure I've seen so many times before, but most of the other ones I've consumed had a lot more meat on their bones. Talia Ryder is angelic, looks like a model in the most traditional sense, and is totally likable, but her character has more arc and depth in the first 15 minutes then she does throughout the entire rest of the movie, so sadly, eventually, fixating on her SO MUCH does lose its steam in this case. There's not enough character depth in the writing to justify the infatuation that the camera seems to have with her. More humor really would have helped give this movie wings to fly, but I rarely found it to conjure chuckles or leave you with any memorably witty dialogue. On top of this, half of the male characters who appear all seem to have the exact same personality - they all want to flex obscure historical tales and philosophies endlessly - this is funny for a few minutes but after some time, it's like "ok, yeah, we get it...what else?". Simon Rex is actually the king of this energy in this film, and leaves one of the most lasting impressions, almost returning to the vibe of his most recent celebrated role, Red Rocket, in which he portrays characters with arguably pedophilic tendencies. The rest of the male characters simply portray danger or un-trust, one-dimensionally.

As you could assume based off of the rest of this review, the journey goes nowhere. It only feels more aimless as it goes, and ends extremely abruptly. I really like what they were GOING for with this movie, but I just don't think it adds up to anything at all. Even as a tribute to the east coast in general, as it presents itself to be, it doesn't seem to hold much merit for viewers. It has flashes of brilliance but never more than flashes. Even some of the music choices are especially delightful, like putting a choice Minimal Man song over the ending credits, but those count as flashes.

Of course, I could be wrong, but this feels like the EPITOME of a case where the filmmaker chose Talia Ryder as a muse, and just wanted to make a film revolving around her (hence the "camera's obsession" with her throughout the entire film), yet struggled to find a story with any real purpose, inspiration, or cohesion, and maybe even knew that, but had an opportunity to make a movie with this cast, and did it any way. They also used this as a vehicle to have Ryder say "retarded" as many times as possible - the R-WORD is back, baby! Maybe this will be some magical experience for some teenagers or college-age kids, but as a 40-year-old artist, it left me wanting a lot more.