Podcast
- Agnès Varda: A Life Through Film
October 5, 2009
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| Reviews | |
| Written by Noralil Ryan Fores | |
| Thursday, 03 April 2008 | |
Photo Courtesy Atlanta Film Festival.
In approaching the hot button issue of border control, screenwriters Brian Petersen and Brett Spackman didn't want to lose the personal under waves of politics. By playing with multiple genres and styles with a film fan enthusiasm, Petersen, in the director's chair, and Spackman, in the editor's, manage with entertaining albeit uneven Coyote to allow characters to speak for themselves, an achievement that endears the film to the audience even when the story links prove weak.
Opening in medias res, Coyote initially plays its crime drama angle to gripping effect, thirtysomething retiree and soon-to-be-wed immigrant smuggler Steve (Petersen) drowning while rival coyotes lear down at him. Breaking from the action, film flashes back to Steve on the golfing green, an eerie low-angle perspective, framed by cinematographer Robb Hanks, echoing the suburban commentary stylism of Richard Kelly's Donnie Darko. Done with business but fearful of boredom, Steve, by strange chance, teams up with vending machine stocker best bud J. (Spackman) when a family friend finds himself deported. Almost too quick and convenient for comfort, the pair build a dummy back onto the flatbed of a truck, cram their more American than Mexican bud into it and cross over the border problem free. With this easy as pie stunt pulled off, Steve and J. launch into the smuggling business, raking in money while providing a safer transport for workers coming to the States illegally. As the business expands and a light air of serio-comedy infuses Coyote, Petersen hits on his directorial strong point, working fluidly with Spackman as actor to render some thoughtful moments about the many issues surrounding the illegal immigration debate. Lady counterparts Katie (Carley Adams), Steve's future wife, and Mariana (Marina Valle), J.'s girlfriend, also step up to question involved ethical issues, both serving as voices of reason that challenge the increasingly dangerous enterprise. A tonal switch back to the crime drama mode, however, undercuts Petersen's stride, showing up not only the all too easily earned moments of Coyote's narrative logic but also just how low-budget the film in fact is. It's a jarring transition from intimate, poignant and funny indie to rough around the edges genre knock-off. There's something going on in Coyote, and more than half of the time that something is not only watchable but well-produced and well-written. It's just that tick of less than half time, that not quite hammered down homage that gets in the way, making Coyote the type of film to see but perhaps forget to recommend. Coyote plays 6:00 PM, Sun, Apr 13 and 1:30 PM, Thu, Apr 17 at the Landmark Midtown. Purchase tickets. | |
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