Review: ‘No Man’s Land’ (2021), starring Jake Allyn, Frank Grillo, Jorge A. Jimenez, Alex MacNicoll, Andie MacDowell and George Lopez

February 27, 2021

by Carla Hay

Jake Allyn in “No Man’s Land” (Photo courtesy of IFC Films)

“No Man’s Land” (2021)

Directed by Conor Allyn

Some language in Spanish with subtitles

Culture Representation: Taking place in Texas and Mexico, the dramatic film “No Man’s Land” features a cast of white and Latino people representing the working-class, middle-class and criminal underground.

Culture Clash: A white teenage son of a Texas rancher accidentally shoots and kills a Mexican immigrant boy and flees to Mexico as a fugitive, while a Texas Ranger who’s a Mexican American goes in hot pursuit to capture him.

Culture Audience: “No Man’s Land” will appeal primarily to people who don’t mind watching idiotic “chase movies” that have an offensive tone of white supremacy.

George Lopez in “No Man’s Land” (Photo courtesy of IFC Films)

There’s a cliché that says, “The road to hell is paved with good intentions.” That saying could apply to the atrocious dramatic film “No Man’s Land.” The filmmakers of “No Man’s Land” say the movie is their way of trying to heal racial rifts among white Americans and Mexican Latinos, in a political climate where the Mexican/U.S. border wall has been used as a controversial symbol of people’s views on immigration in the United States.

If the “No Man’s Land” filmmakers had intentions of healing the harm done by racism, it didn’t work with this movie. In fact, “No Man’s Land” is tone-deaf schlock that actually has more than a whiff of white supremacy and racist beliefs. The film’s Mexican characters are written as expendable, not very smart, and pawns for whatever the white characters want, while the white characters are elevated as having more valuable lives, being more intelligent, and more deserving of redemption.

“No Man’s Land” was directed by Conor Allyn and written by his younger brother Jake Allyn (one of the stars of the movie) and David Barraza. As explained in the movie’s prologue, the movie’s title is named after the No Man’s Land area that’s the gap between the Texas border fences and the Mexican land that’s north of the Rio Grande. The movie takes place in Mexico and the U.S. state of Texas.

Conor Allyn made a very pretentious director’s statement in the “No Man’s Land” production notes. The statement reads in part: “In a time of great fear, we wanted to make a film about hope. The world is growing apart. Xenophobia and prejudice are abundant, millions clamor for walls to divide, yet there is still time to unite. But first we must recognize the borders within ourselves. And cross it.”

Conor Allyn continues in the statement: “But change does not come without pain. Our characters have to experience, and inflict, enormous pain in order to make a transformation. And in doing so, they are able to cross that border within themselves. And we hope that the audience does the same.”

The characters might inflict some pain on each other, but viewers of “No Man’s Land” will have some pain inflicted on them if they have to sit through this horrible onslaught of bad moviemaking. Be prepared to possibly have some brain cells damaged by the stupidity of it all. It’s not just that the filmmakers ineptly mishandled racism issues in this movie, but it’s also a terrible chase movie with insipid and unrealistic scenes.

In “No Man’s Land,” Jake Allyn portrays Jackson Greer, who lives with his family on a Texas ranch in an unnamed city that’s near the Mexican border. Jackson is in his late teens and is about to enroll in an unnamed New York City college on a baseball scholarship. Jackson’s rancher father Bill Greer (played by Frank Grillo) is more excited than Jackson is about Jackson getting a college education and possibly becoming a baseball star.

Jackson would rather skip college and continue to work on the ranch. In a conversation between Jackson and Bill in Bill’s truck, the father comments to the son about this opportunity to go to college: “You go give it a shot. If it don’t work out, it don’t work out.” Bill’s incorrect grammar is meant to show that he’s a working-class guy who doesn’t care about speaking proper English.

The other members of the Greer family who live on the ranch are Bill’s wife Monica Greer (played by Andie MacDowell) and their younger son Lucas Greer (played by Alex MacNicoll), who’s close to the same age as Jackson. In their spare time, Bill and his sons patrol the borders of their ranch to try and chase off immigrants and drug smugglers who illegally cross the border. These illegal treks usually happen at night.

Meanwhile, members of a family in Mexico are preparing to make this illegal crossing into the United States. Gustavo Almeida (played by Jorge A. Jimenez) is a widower who has a green card (resident alien documentation) to legally work in the United States. However, Gustavo’s son Fernando (played by Alessio Valentini), who’s about 13 or 14 years old, was denied immigration permission to live in the U.S. with Gustavo.

Gustavo has temporarily returned to Mexico to illegally bring Fernando into the United Sates. About two or three local men they know from Mexico are also on this trek to cross the border with Gustavo and Fernando. Gustavo’s religious mother Lupe (played by Ofelia Medina) is staying behind in Mexico, but she wishes them luck, and she gives Fernando some cash to take with him.

Gustavo, Fernando and the other men cross the border and end up on the Greer family’s property. Bill, Jackson and Lucas are out patrolling that night with their rifles. And, of course, things go horribly wrong.

Bill orders the men to stop because they’re trespassing. Because most of the Mexican men don’t speak English and the Greer men don’t speak Spanish, there’s a language barrier. But there’s no mistaking what the guns are for and Bill’s tone of voice. Gustavo, who speaks some English, raises his hands and tells the Greers that the immigrants don’t want any trouble.

Some of the immigrant men try to ignore Bill and keep going. But with Bill leading the way, he and his sons confront the men. One the immigrants pulls out a switchblade knife. A scuffle ensues where one of the immigrant men gets in a struggle with Bill over his rifle. A shot is fired, and Lucas accidentally gets hit. Meanwhile, a panicked Jackson rushes to his family’s defense and shoots his rifle. The bullet hits Fernando in the back, and he is killed instantly.

During this chaos, Bill has rushed to Lucas’ side, while Gustavo has rushed to Fernando’s side. In a rage, Bill threatens to shoot all of the immigrants if they don’t leave his property. Gustavo begs to stay with Fernando, but he can also tell that Bill is so angry that the Mexican immigrants will be blamed for everything and will probably get arrested. And so, a heartbroken Gustavo leaves with the other men and they go back to Mexico. Lucas is still alive, and he’s taken to a hospital for surgery.

The Texas Ranger who’s in charge of the investigation is named Ramirez (played by George Lopez), and the “No Man’s Land” filmmakers didn’t bother to give this character a first name or a realistic storyline. Ranger Ramirez doesn’t have any law enforcement partners with him during most of the time when he investigates this serious crime. Throughout the entire movie, Ranger Ramirez is the only Texas Ranger in Mexico who’s pursuing this case that could lead to charges of second-degree murder or manslaughter.

Ranger Ramirez is immediately suspicious of Bill’s story that Bill was the one who accidentally shot Fernando in self-defense during the scuffle. Bill is the registered owner of all the guns in this incident, but the facts don’t match up with Bill’s story. Bill claims that he was fighting with one of the immigrants over the gun that ended up shooting Bill’s son Lucas, while Fernando was shot seconds later by another gun. Someone else had to have been holding that other gun that shot Fernando. And Ranger Ramirez instinctively knows the shooter couldn’t have been Bill.

Bill wants to cover up for Jackson because he doesn’t want this crime to ruin Jackson’s promising future. However, Jackson has a guilty conscience. (He’s shown wailing by himself somewhere in the Texas Rangers station while his father is being questioned.) And, as guilty people often do, Jackson (on horseback) goes back to the crime scene.

At the crime scene in the remote desert field, Jackson finds Fernando’s wallet. And just who happens to show up right then and there? Ranger Ramirez, of course, who was presumably following Jackson. Jackson can’t take the guilt anymore and he confesses to Ranger Ramirez that he was the one who shot Fernando.

Instead of allowing himself to be arrested, Jackson panics and flees on his horse, with Ranger Ramirez in pursuit in his squad car. Jackson is able to lose Ranger Ramirez when they reach a creek that Ranger Ramirez can’t cross on foot or by car, but Jackson can cross by horseback. Jackson eventually crosses the border to Mexico. All he has are his cell phone, the clothes he’s wearing, his wallet, his horse and Fernando’s wallet. And he doesn’t know how to speak Spanish.

It’s either lazy screenwriting or the filmmakers’ way of showing that Ranger Ramirez doesn’t have much clout, because he’s the only Texas Ranger shown chasing Jackson, a fugitive who’s wanted for suspected murder or manslaughter. Jackson could be armed and dangerous, but the filmmakers want to make it look like the Texas Rangers are willing to give Jackson a lot of leeway for this felony, because they’ve only sent one Ranger to be in pursuit of him. And the pursuer happens to be Latino. There are some scenes where Ranger Ramirez has to do some running on foot when he’s clearly out of shape, which only highlight how the filmmakers want to make this Latino cop character look like a buffoon without any backup.

The “No Man’s Land” filmmakers try to make it look like they’re not playing into racial stereotypes of Mexican Americans, in an interrogation scene where Bill incorrectly assumes that Ranger Ramirez can speak Spanish. Ranger Ramirez defensively declares that he’s an American too and he doesn’t know how to speak Spanish. Therefore, the filmmakers have made Ranger Ramirez look even more inept, as someone who can’t speak Spanish when he goes to Mexico as the lone pursuer of Jackson.

There’s more racial privilege/condescension on display, when Ranger Ramirez tries to find out from Bill and Monica where Jackson could have gone after Jackson has fled from being arrested. And these self-righteous parents end up getting angry at Ranger Ramirez for letting Jackson escape into “dangerous” Mexico. These parents, who come across as racists, seem more worried about Jackson getting hurt by Mexicans while he’s evading arrest than they are about the fact that their son Jackson is the one who’s committed a fatal crime, and he’s breaking the law even more by becoming a fugitive.

Needless to say, this dimwitted movie doesn’t even address that Bill should be in trouble for lying to law enforcement. Bill’s false confession also impeded the investigation, which is another crime. But those crimes are ignored, because in “No Man’s Land,” the white characters are the ones the filmmakers want the audience to root for to be forgiven the most.

Jackson’s parents understandably want the man who accidentally shot Lucas to be arrested, but they (and this movie) expect Jackson, who committed a worse crime of killing someone else, to be shown more mercy. Lucas was shot, but he wasn’t killed. And Jackson’s parents don’t seem to care that a family lost an innocent child because the child’s life was taken by Jackson, who’s alive and well.

The filmmakers give a lot of attention to the Greer family and tell very little about the Almeida family. Viewers never find out what Fernando’s hopes and dreams were or anything substantial about Gustavo and his experiences as a legal Mexican immigrant in the United Sates. There are expected scenes of Gustavo grieving over Fernando’s death, but no further insight into their lives.

By contrast, there’s a lot of concern in the movie over how Jackson’s crime of killing Fernando will negatively affect Jackson’s future and the Greer family’s reputation. The entire “chase” part of the movie puts an emphasis on Jackson feeling out of his comfort zone because he’s hiding out in a country where he doesn’t know the language, even though he’s an outlaw of his own free will. The filmmakers make Jackson’s thoughts and needs more important than any of the Mexicans’ thoughts and needs. It’s a racist imbalance that makes the Mexican characters look like hollow plot devices that serve the main story of how Jackson is going to get out of his self-made predicament.

When Ranger Ramirez gets to Mexico, the movie makes some vague references to Ranger Ramirez enlisting the help of Mexican federales to try to find Jackson, as well as the man who shot Lucas. But these federales are barely seen in the movie and certainly aren’t written as important characters. It’s an example of how the filmmakers marginalize Mexican law enforcement throughout the entire movie. Ranger Ramirez is the only Latino person in the movie who has a significant role as law enforcement, and he’s set up to be a character to go after a white guy who’s supposed to be sympathetic.

And the filmmakers literally have Jackson go on what turns out to be a sympathy tour in Mexico. Everywhere that Jackson goes while he’s hiding from the law, he has Mexicans bending over backwards to help him because they feel sorry for him, even though he’s a stranger who has all the signs of someone who’s left somewhere abruptly and is trying to hide from something: He’s new to the area and homeless; he has no possessions except his horse and a few personal items; and he doesn’t talk about his background.

Jackson doesn’t even know what city he’s in for most of the time he’s in Mexico. He doesn’t bother to use a map, but he has all these friendly Mexicans willing to help him when he wants to hide out somewhere and get advice on where to go next. It’s the movie’s way of saying that a good-looking American white guy who’s a fugitive hiding in Mexico and who doesn’t know Spanish should have it this easy, just because he’s a good-looking American white guy.

That’s what happens when Jackson, who’s on horseback on a nearly deserted road, encounters a truck with a small family of ranchers are who heading back to their home. Even though they know nothing about him, Jackson quickly convinces them on the spot to hire him to work on their ranch and give him and his horse a place to stay. The family happens to have a truck that is already equipped to transport a horse in the back of the truck. Before they drive back to the family’s ranch, Jackson (showing his privileged attitude) acts a little surprised and embarrassed when they tell him that he has to stay in the back of the truck with the horse because there’s no room for Jackson in the front.

The family has two children in their late teens or early 20s: Miguel (played by Iván Aragón) and Victoria (played by Esmeralda Pimentel), who were in the truck when Jackson first met them. It should come as no surprise that Victoria is immediately attracted to Jackson, who acts attracted to her too. But it’s hard to tell how much of Jackson’s flirtation with Victoria is real and how much is fake, since he’s using this family while he hides from the law. Victoria suspects that Jackson has something major to hide, but she goes out of her way to help Jackson, even going as far as giving him cash.

Jackson also has some other “too good to be true” encounters with Mexicans who automatically trust him without knowing anything about him. There’s an elderly couple named Juan (played by Carlos Remolina) and Rosa (played by Julieta Ortiz), who immediately let him stay in their home. They don’t ask Jackson any questions (very unrealistic), and he would’ve stayed longer with them but his time with this gullible couple is interrupted.

And when Jackson is on a bus, he strikes up a conversation with a mother sitting nearby who’s reading “Adventures of Huckleberry Finn” to her son, who’s about 7 or 8 years old. The boy thinks the book is boring, until Jackson lectures him about how “Huckleberry Finn” is a classic adventure and asks the boy if he’s gotten to the best parts of the book that talk about the royal characters. The boy says no.

And the next thing you know, the kid is sitting next to Jackson with his head leaning on Jackson’s arm, as Jackson reads the book to him like a friendly neighborhood schoolteacher. The cloying parts of this movie are just beyond laughable. If the filmmakers had more time in this scene, they might have made Jackson charm his way into letting the boy’s mother give Jackson a place to stay too.

Since this movie wants to make Mexicans look inferior to Jackson, there’s a silly subplot about a small-time Mexican criminal named Luis (played by Andrés Delgado), who’s also chasing after Jackson for revenge. Luis, who has a peroxide-blonde faux hawk hairstyle, looks more like a scrawny skater than a supposedly fearsome leader of a gang of hoodlums.

Luis and his sleazy friends live in a run-down trailer area somewhere in the Mexican desert. Apparently, one of the ways they make money is by ripping off unsuspecting tourists by operating a small convenience stand that sells overpriced food and drinks. When Jackson first crosses the border into Mexico, he tries to buy some water from the stand, but then refuses when he sees that he’s being overcharged.

Luis and his gang then try to steal Jackson’s horse, but Jackson is able to fight them off and flee with the horse. Somehow, Luis finds out Jackson is the same guy who’s responsible for killing the son of a local man named Gustavo. Yes, it’s the same Gustavo, the father of the dead Fernando. Luis goes to a grieving Gustavo and offers his services to kill Jackson. Gustavo and Luis then team up to hunt down Jackson and get revenge.

The movie gets even dumber from then on, as Jackson has not only law enforcement chasing after him, but also Gustavo and Luis. There are a few instances where Ranger Ramirez is close to capturing Jackson, but Jackson outsmarts Ranger Ramirez, because the filmmakers are intent on making Ranger Ramirez look like an incompetent fool. Just like Ranger Ramirez, Luis could easily get the help of his cronies to outnumber Jackson, but he doesn’t do that, because the filmmakers don’t want the Mexicans to be smarter than the white Americans in this movie.

The movie’s big climactic showdown is extremely annoying and an insult to viewers’ intelligence. And when viewers find out how much prison time that Jackson would be facing if he’s caught, it’s further proof of racial inequalities in the U.S. criminal justice system. The filmmakers of “No Man’s Land” are trying to pretend that this movie can help heal these racial divides, but this reprehensible movie just fans the flames of bigotry even more by glorifying “white American privilege” and exploiting systemic racism for a cash grab.

IFC Films released “No Man’s Land” in select U.S. cinemas, on digital and VOD on January 22, 2021.

Review: ‘All Roads to Pearla,’ starring Alex MacNicoll and Addison Timlin

October 23, 2020

by Carla Hay

Alex MacNicoll and Addison Timlin in “All Roads to Pearla” (Photo courtesy of Gravitas Ventures)

“All Roads to Pearla”

Directed by Van Ditthavong

Culture Representation: Taking place in an unnamed city in Texas, the crime drama “All Roads to Pearla” has a predominantly white cast (with a few Latinos and African Americans) representing the working-class, middle-class and criminal underground.

Culture Clash: A senior in high school falls for a prostitute, who gets him mixed up in her criminal activities. 

Culture Audience: “All Roads to Pearla” will appeal primarily to people who like non-linear, muddled, noirish dramas with vague endings.

Alex MacNicoll (center) and Paige McGarvin (left) in “All Roads to Pearla” (Photo courtesy of Gravitas Ventures)

The crime drama “All Roads to Pearla” begins with an ambiguous scene and ends on an ambiguous scene. If you hate movies that end on a cliffhanger, and there’s almost no chance that the movie is getting a sequel, then it’s best to avoid watching “All Roads to Pearla.” It’s a movie that tries very hard to be gritty and sleek at the same time, yet it comes up short when it comes to overall storytelling.

“All Roads to Pearla” (formerly titled “Sleeping in Plastic”) is the first feature film from writer/director Van Ditthavong, who uses a lot of quick-cutting, back-and-forth editing techniques to attempt to make the story more of a mystery than it actually is and to give the movie a more suspenseful tone. Just as viewers get settled into watching what’s going on in a scene, the movie cuts away to show what’s happening at the same time somewhere else. There are also many flashbacks, so viewers have to pay attention to piece together the whole story. But even then, the puzzle ends up incomplete. What the movie really comes down to is a not-very-original concept of a young man who’s led astray by a femme fatale.

The movie’s protagonist is Brandon Bell (played by Alex MacNicoll), who’s in his last year at Lakeside High School in an unnamed suburb in Texas. Brandon is a wrestler on the school’s team, which is led by tough-but-motivational Coach Baker (played by Nick Chinlund), who considers Brandon to be a one of the best members of the team. Brandon is a loner who has an unhappy home life: His father abandoned the family, his younger brother has died, and his emotionally abusive, alcoholic mother Pearla (played by Morgana Shaw) blames Brandon for everything that’s gone wrong in her life.

The movie opens with a naked teenage boy running through a field into an open road and getting accidentally hit and killed by a car. Who is this boy and why was he running naked outside? The movie takes a long and muddled time to get some answers to that question, but the film is mainly preoccupied with showing Brandon’s dangerous attraction to a local prostitute whose name also happens to be the same as his mother’s: Pearla.

When Brandon first meets Pearla (played by Addison Timlin), who’s about the same age as Brandon, he doesn’t know that she’s a sex worker. He sees her while they’re both in a grocery store, and their eyes briefly lock in the way that indicates there’s an immediate attraction between them. After Brandon leaves with his grocery items and gets in his truck to leave, Pearla approaches him and starts up a flirtatious conversation with Brandon.

He’s so awed by her that he doesn’t even ask what her name is, but he tells her his name. She asks Brandon if he wants to make some easy money: For $50, she wants Brandon to give her a ride to “meet a friend” and wait for her for about an hour. It sounds suspicious, and Brandon doesn’t say yes right away. However, he and Pearla exchange phone numbers in case he changes his mind.

Someone at the grocery store who’s noticed this attraction between Brandon and Pearla is a cashier named Ellie (played by Paige McGarvin), who happens to be a classmate of Brandon’s. The next day in school, Ellie warns Brandon to stay away from the teenage girl he met in the parking lot. Ellie tells Brandon that this girl is a troublemaker who was caught shoplifting in the store and her reaction at getting caught was to throw a violent temper tantrum. Ellie doesn’t sugarcoat what she thinks of this mystery wild child: “She’s crazy.”

Brandon’s response is to ask Ellie on a date to go to the movies with him. But it’s clear from the time that Ellie and Brandon spend together that although she might be romantically attracted to him, he only wants her to be his platonic friend. Brandon is very intrigued by the girl he met in the grocery store parking lot, so he calls her and agrees to be her driver for the agreed-upon fee.

When they meet for the second time, Brandon asks her what her name is. When she tells him her name is Pearla, he mentions the strange coincidence that his mother’s name is also Pearla. Brandon makes it clear that he doesn’t have a good relationship with his mother. Pearla also comes from a broken home and she’s an only child. She has a cocaine habit, but Brandon doesn’t indulge in any drug taking when Pearl offers him some coke.

Brandon quickly figures out, based on Pearla’s instructions, that she’s a prostitute. When he asks her directly if she’s a hooker, all she will say is “I help people sleep at night.” After she comes back from the first place where Brandon dropped her off, she asks him to make two more stops. He’s reluctant at first, until she increases her payment to $100.

At one of the stops, Brandon finds out that he knows one of Pearla’s customers because he immediately recognizes the house where this person lives. Brandon becomes a Peeping Tom and looks in the bedroom window where Pearla and the customer are. And this customer has a dirty secret that Brandon discovers, because he can see what’s about to happen with this customer and Pearla before the lights get turned off.

When the sex session is over, the customer goes outside the house and sees that Brandon is Pearla’s driver. The customer and Brandon both look at each other that says in an unspoken way, “We both know this secret. Now what are you going to do about it?” Later, when Brandon sees this person again and tries to mention what he saw that night, the other person pretends that it didn’t even happen.

Meanwhile, Pearla is definitely not a “hooker with a heart of gold.” She’s in cahoots with her pimp Oz Bacco (played by Dash Mihok) and Oz’s muscleman Teddy (played by Marcus M. Mauldin) to rob her clients. After she ends a sex session with a client, who is usually caught off guard, she makes sure the door is unlocked so that Oz and Teddy can immediately invade the place and rob the client.

In the beginning of the movie, this type of robbery takes place at motel where Cowboy Loy (played Corin Nemec), one of Pearla’s customers, is robbed and assaulted by Oz and Teddy, who wear full face masks during these crimes. Their assault is so brutal that they nail one of Cowboy Loy’s hands to a dresser. But the money that was stolen in this robbery came from the business owned by Cowboy Loy and his business partner Mamo (played Tina Parker), and they’re both hell-bent on getting revenge. It’s pretty easy to see at this point where the movie is going to go.

Brandon and Pearla become lovers, and he gets more caught up in trying to be her protector, even though he’s aware that his life could be in danger. Brandon doesn’t have any specific goals on what he wants to do with his life after high school. He’s contemplating a possible move to El Paso to work on an oil rig, since he knows someone in El Paso who’s in that line of work. When he mentions it to Pearla, she says she would like to move to El Paso with him too if she can get enough money.

When someone like Pearla tells someone like Brandon, “I love you,” she doesn’t really mean it. It’s just her way of saying what Brandon wants to hear so that she can further manipulate him into doing what she wants. Brandon naïvely thinks that this prostitute with a cocaine addiction and a domineering pimp will just be able quit her criminal activities and move to El Paso with him when the time is right. But criminals like Pearla and Oz are too addicted to making money through illegal activity to suddenly “go straight.” Will Brandon be collateral damage?

Although “All Roads to Pearla” starts out promising, the movie quickly devolves in the last third of the story into a violent mess. MacNicoll and Timlin are very good in their roles as mismatched lovers Brandon and Pearla, but the movie’s supporting characters are written and performed as two-dimensional characters or borderline caricatures. Mihok as Oz is particularly over-the-top in his villainous role, but in an annoying way, not an entertaining way.

And about the sexual secret that Brandon knows about that’s very scandalous: The person who has the secret reacts in a fairly predictable way when it looks like someone might reveal this secret. “All Roads to Pearla” tries to go for a modern noir vibe, but it mishandles the “mystery” elements of the story with too many confusing flashbacks and that still don’t tell enough of a backstory to make this a well-rounded thriller.

The best scenes in the movie are those that involve Brandon’s dysfunctional home life. A vicious verbal argument that Brandon has with his mother is well-acted and very realistic. And there are hints, but not enough disclosure, about the death of Brandon’s younger brother that has caused so much turmoil in his family. The romance between Brandon and Pearla is utterly predictable because it’s been done so many other times before in movies that have femme fatales who lure gullible men into a life of crime.

Sometimes a movie’s mediocre acting or choppy direction can be forgiven if the overall story is intriguing and told in an original way. But it’s hard to like a movie that leaves major issues unresolved by the end of the film. In that respect, “All Roads to Pearla” is a movie that ends up leaving viewers feeling stranded and conned.

Gravitas Ventures released “All Roads to Pearla” in select U.S. cinemas, digital and VOD on September 25, 2020.