In the movie “Ride of Die”, things go sideways on the wheels of their path in a hurry. Paula and Lyn are barely out of Saint Louis when they need to withdraw. The truck driver arrives with Twin. It is inappropriate and suffering from comfort. Do not help things ever, I noticed Paula something that swings from a tree in this rural black extension.
Perhaps it is not fair to compare the films that put two women on the road and under coercion to the classic “Thelma & Louise” of 1991, but when this couple was directed on the abyss and to the code, the film guarantees ghost scenes. From the newly slope “Royal Hotel” from Kitty Green, who sent a back -back friend – one of them is practical and effective – in the Australian remote areas to work in a bar where the sexual threat penetrates into the arid air.
Now, there is the first Josalyn Smith feature, “Ride or Die”, which was shown in Tribeca. FoxHole, produced by Jamie Foxx, FoxHole, or drama-or as described as “Anti-Romance/Thriller” or “Thelma & Louise”-but also refers to a young director fascinated by ideas, comfortably with the foundations and comfort with actors. Priyana Middleton in the role of Paula, a careful spirit with curly curly hair, and Still Evert in the role of Sloan, whose wild child was formed through shock, provides a dynamic performance. Their courses are strengthened by the ARLENE MULLER cinematic in Tahrir Olivia Elizo.
The pioneering couple meet at an ancient clothes store in his hometown in Saint Louis. Or rather, they meet again. Paula and Lwan went to the same high school. Work in the record, Sloane from the hole barrier stuck around it. Paula returned from the back college to the east and lives with her mother and her husband. She is an ambitious films director, dreaming of reaching Los Angeles. Their atmosphere is gentle and full of vitality, which will turn into something more while attempting a flowing wild journey.
If this seems to be a moderate personal preparation for the first time, Smith, who grew up in St. Louis and obtained a Master in Colombia, said this way. One of the attractions in “Ride or DIE”, written by Smith and Elisia Luzon-Hessler, resides in knowing the exit exit from its heroes. She knows that emerging love can be chaotic and scared. The husband will make stupid decisions, and the viewers are likely to ask: Will a girl like Paula really do it for chaos like Sloan? The director knows that the answer is, “Yes, it’s.” There is a deep and careful work care here is the strength of the movie, but it may also be its weakness, from wisdom.
Yes, these opposites attract, but there is more for their dynamism. Black Paula, of the middle class and loved her by her mother, although she is incomprehensible, and is not honored. The Church refers to her family, even as she presses her joy and capabilities. Slun descends from local disorders. Although we have never seen her mother, an unexpected phone call has a click with her while sitting at the dinner table at Paula’s house. Paula’s mother (Eisa Davis), polite ever, looks suspicious and anxious.
It should be. Within hours, the pair hit the way in the old and golden Paula. There are noticeable moments with skill in which the whites of a click, as they were at risk like her strength in the world, beyond the efficiency of the actual Balla. She faces a thorny confrontation with a parked white woman in front of a storing groove store for a talisman. Shortly after the scene was found, the two who are characterized by Arthouse showed the ideal double bill for “Dust Girls” and “sheep killer”, quietly funny – Sloan was just wandering around what “Jennifer’s body” was an explosion – and perhaps a little sad as well.
Do not be afraid, there is joy and exhaustion here and celebrating the type of communication that appears to be love, although it will definitely look like madness a few years on the road. Actor Guinevir Turner, who has a history of floors with strange cinema that first appeared in “Go Fish”, drink cranes and stories in a girl bar in the western mountain where Paula actually gets a nice meeting. Jamal stomachs are usual, all smiles and share the secret handshake of those who grew up in the Black Church: “God is good.” Paula do not miss a rhythm. It is a small black charm in a movie that is calculated for something else.
Slon has a father in Arizona that comes as a counter -herel before becoming a full destination. The film returns to the place where it started provocative with the spouses in the desert and Paula is asking in a voice, “How do you ask about forgiveness?”