This film is a true-crime thriller that goes behind the headlines to uncover the deep-seated and social media-fueled “boys will be boys” culture at the root of high school sexual assault in America. Like many small towns across the country, Steubenville, nestled in a valley in eastern Ohio, lives and dies by its high school football team. So when a teenage girl was sexually assaulted at a pre-season football party in 2012, no one came forward with information. True-crime blogger Alex Goddard set out to uncover the truth, piecing together the details of the crime through cell phone footage and photos that made their way to YouTube, as well as a nearly minute-by-minute account of events on social media. In the process, she uncovered both the perpetrators and the entire culture of complicity that enabled them. The ensuing trial, which made national headlines, cut to the very heart of nationwide debates about rape culture.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
Deborah (Jean Smart) and Ava (Hannah Einbinder) are a delight to watch evolve, sometimes devolve, then evolve again.
Make no mistake about it, Gilligan has created a continuation that earns its place in the annals of Breaking Bad lore. El Camino isn't a forced entry in an otherwise brilliant world of fiction. This is a satisfying take, which manages to give closure to an iconic character of fiction.
The film exhibits a respect for the craft and an empathy for human tribulations that have historically been ignored.
