The Hawkins are no Ewings. Their ranching and cowboying way of life was
under stress, even before they had to face childhood cancer. Having their son
Peter behind bars is not much help either. At least his mother Monica stays
plenty busy as the sheriff, but the pay cannot cover new uninsured treatments. Of
course, Peter knows all about the outlaw way to raise money in Jake Allyn’s Ride,
which releases this Tuesday on DVD and BluRay.
Peter
Hawkins was originally sentenced to less than two years in prison, but somehow
it was extended to a full four. His father John instructed the family to sever
all contact, which they mostly did, because they were so preoccupied with his younger
preteen sister Virginia’s cancer diagnosis. Just when they thought she was
coming home, new cancer cells emerge.
Grandpa
is still there for him, ready to coach Peter when he returns to competitive
bull-riding. His old cell-mate is also ready and willing, whenever he needs to buy
self-medication. However, Hawkins also happens to notice where his dealer stashes
all his illicit cash, which could be handy information to know.
Allyn,
who directs himself, really understands the small-town western setting and he depicts
their family and cowboy values in a respectful manner. Unfortunately, some
viewers will be frustrated Allyn refuses to choose either hardscrabble family
drama or gritty crime lane, basically straddling the center line instead.
However, that makes Ride quite a distinctive film. Indeed, the former
creates such high stakes in the latter.
C.
Thomas Howell might just deliver the screen performance of his career as vinegary
John Hawkins (or it is a close second to his work in The Outsiders). It
is an incredibly complex and intense performance. Frankly, he looks even
craggier than Forrie J. Smith portraying his father Al, but that just adds
further poignancy to his performance.
Although
Annabeth Gish has less screentime, she serves up some powerful moments in the
third act. Again, Ride deserves some consideration if anyone programs a
Gish retrospective. Allyn also does right by himself playing Peter Hawkins. He
brings out the full tragedy of his circumstances, without wallowing in fake
pity. In fact, in some ways the film is very much about his character learning
to take responsibility.
As the producer of the biggest box office bomb in Hollywood history, Breen
Nash would kill for a hit. He more or less does so unintentionally, when he unknowingly
sets in motion a bizarre pseudo-lycanthropic monster in an effort to save his
latest production. The show must go on, but the price will be high in Chris W.
Freeman & Spain Willingham’s Beast Mode, which releases today on
VOD.
Nash
applied Truman’s advice regarding DC to Hollywood and got himself a dog for his
best friend. He doesn’t even kid himself about the rest of his associates, but
somehow, he still managed to package a deal to produce Beast Moon with surly,
hard-partying Huckle Saxton. There is no deal without Saxton, so Nash is
understandably concerned when he accidently backs over the troubled star with
his car. He feels bad, but the deal still needs to be finalized, so he hires a
lookalike to take Saxton’s place.
The
nicer Saxton is the star’s spitting image, except for his blemished face, but
fortunately Nash can call in a favor with old school makeup goddess, Zelda
Zine. She knows a guy who has this cream derived from a rare South American
flower that works wonders. The only drawback is it literally brings out the
beast in people—round midnight. Suddenly, nice Saxton isn’t so nice anymore and
neither is everyone else who came into physical contact with the cream.
Freeman,
Willingham, and co-screenwriter Drew Fortune tell a nutty, chaotic story, but
they certainly find fresh ways to skewer Hollywood. Seriously, this is not like
dozens of other tame show business satires. They really draw blood, so to
speak.
