Review: ‘To Catch a Killer’ (2023), starring Shailene Woodley, Ben Mendelsohn, Jovan Adepo and Ralph Ineson

May 5, 2023

by Carla Hay

Shailene Woodley (pictured in front) in “To Catch a Killer” (Photo courtesy of Vertical)

“To Catch a Killer” (2023)

Directed by Damián Szifron

Culture Representation: Taking place mostly in Baltimore, the dramatic film “To Catch a Killer” features a predominantly white cast of characters (with some Asians, Latinos and African Americans) representing the working-class and middle-class.

Culture Clash: A cynical FBI agent teams up with a Baltimore police officer with a troubled past in an investigation to find an elusive mass murderer. 

Culture Audience: “To Catch a Killer” will appeal primarily to people who are fans of procedural crime dramas and the movie’s headliners, but the move lacks the realism that would make it a credible crime story.

Pictured clockwise from upper left: Jovan Adepo, Ben Mendelsohn, Shailene Woodley and Dawn Lambing” in “To Catch a Killer” (Photo courtesy of Vertical)

“To Catch a Killer” starts with the far-fetched concept that an experienced FBI agent would rely heavily on an inexperienced city police officer to help capture a mass murderer. The plot all goes downhill from there. Although the cast members try to make this drama believable, and there are some suspenseful moments, the movie is undone by a weak screenplay that has too many plot holes and unrealistic depictions of an investigation of this magnitude.

Directed by Damián Szifron (who co-wrote the “To Catch a Killer” screenplay with Jonathan Wakeham), “To Catch a Killer” takes place mostly in Baltimore. The movie (which was formerly titled “Misanthrope” and was actually filmed in Montreal) opens with a scene that takes place in Baltimore on New Year’s Eve. Party revelers who are on the roof and on balconies at a high-rise hotel are suddenly gunned down by an unseen sniper at a nearby hotel. In total, there are 29 murder victims.

It’s a scene reminiscent of the real-life horrific tragedy in 2017, when a sniper at a hotel murdered 60 people and wounded more than 400 people at the outdoor Route 91 Harvest music festival in Las Vegas. This real-life tragedy is mentioned in “To Catch a Killer” when law enforcement officials arrive at the bloodbath crime scene to investigate. It’s probably the closest thing to realism that the movie gets.

The crime scene investigators find out too late that the sniper left behind a bomb in the 17th floor hotel suite, where the unknown sniper was, but fled the scene before law enforcement officials could get there. The bomb explodes, destroying a lot of possible evidence. It’s later mentioned that even if there had been no mob, the killer didn’t leave any fingerprints or DNA at the crime scene. However, witnesses who saw who was in the hotel suite say that the gunman was a white male who was alone.

One of the Baltimore police officers on the scene is Eleanor Falco (played by Shailene Woodley), who is one of the cops who goes into the hotel suite after the bomb explosion. By the time Eleanor gets there, the hotel suite is filled with debris and smoke. Eleanor hallucinates that she falls out of window in this hotel suite. She thinks she’s fallen on the sidewalk. Instead, she wakes up on a floor of the hotel suite, where a co-worker tells Eleanor that she has fainted.

Later, Eleanor gets reprimanded by a supervisor for not wearing a gas mask when she knew that she was walking to a place that had just been bombed. Eleanor is generally not respected by her mostly male co-workers. This animosity toward Eleanor is because she’s a woman, and partly because she’s a loner type in a job that requires that she work with a partner and as part of a team. Eleanor is almost never with a cop partner when she responds to a dangerous crime scene. It’s one of the many reasons why “To Catch a Killer” looks so phony.

The FBI agent who’s been put in charge of the investigation is Geoffrey Lammark (played by Ben Mendelsohn), a gruff know-it-all who thinks he’s the only person who has the leadership skills to find the killer. During a meeting with Baltimore police officials and FBI agents, Geoffrey gets a briefing from a criminal profiler, who starts rattling off the probable personality traits and demographics of this mysterious mass murderer. “He’s not a type. He’s a person,” says Geoffrey abruptly in response.

Eleanor speaks up in the meeting and refutes the profiler’s theory that the murderer is out for revenge. Eleanor says she thinks the murderer’s motive is relief. Geoffrey is intrigued by this observation. And so, the next day, Eleanor is called into meeting with Geoffrey, who decides after this one conversation that he’s going to consult with Eleanor on how to catch this killer.

It’s explained rather ludicrously in the movie that Geoffrey made this decision because he did a background check on Eleanor and found out that she has a lot of dysfunctional personality traits that are similar to a serial killer. Eleanor has a lot of violent anger issues, dating back to when she was a child. She says that something happened to her when she was 12 that motivated her to go into law enforcement for “protection” against herself.

Eleanor is also a recovering drug addict who has attempted suicide more than once. Of course, these experiences will not automatically turn someone into a killer of other people, but Geoffrey thinks that Eleanor would know better than any other investigator on team how the mind of a serial killer works. It doesn’t take long for Geoffrey to get some backlash for choosing Eleanor to be the Baltimore Police Department’s liaison for the FBI in this investigation. The Baltimore Police Department’s chief Karl Jackson (played by Mark Camacho) and other high-ranking employees in the department naturally feel insulted that they were passed over for this liaison job.

It’s the first time that Eleanor has worked on a mass-murderer investigation. Eleanor applied to the FBI Academy eight years about she was rejected because of her mental health issues. The FBI Academy personality test results found Eleanor to be “aggressive, vindictive and antisocial.” It’s eventually revealed what happened in Eleanor’s childhood that most likely affected her mental health at an early age.

Geofrrey knows that Eleanor will eagerly work with him because she hopes it might help if she ever decides to try out for the FBI Academy again. And he’s right about Eleanor wanting to help him. What Geoffrey doesn’t count on is that Eleanor will outsmart him in many aspects of this investigation.

“To Catch a Killer” moments of suspense often come a crashing halt when the movie awkwardly tries to balance the action scenes with the behind-the-scene politics of this investigation. Geoffrey’s boss Irene Michkin (played by Dawn Lambing) is skeptical from the beginning that Eleanor will make a good liaison. Irene thinks that Eleanor is not mentally stable enough for the job. Geoffrey and Irene predictably clash with each other in a battle of egos.

FBI agent Jack McKenzie (played by Jovan Adepo) is sometimes caught in the middle between the feuding of Geoffrey and Irene, but Jack generally goes along with what Geoffrey wants, because Jack has to interact more with Geoffrey than with Irene. Another person who gets into conflicts with Geoffrey is a colleague from the FBI named Frank Graber (played by Richard Zeman), who is in a power struggle with Geoffrey. Someone else who isnt a fan of Geoffrey is Baltimore’s mayor Jesse Capleton (played by Nick Walker), who resists Geoffrey’s recommendations to lock down the city after another mass murder, because Jesse thinks it will cause more panic than necessary and disrupt the city’s economy.

The mass murderer strikes again and again and again. In one horribly staged scene, the killer shoots people at a shopping mall and then nonchalantly bombs many of the law enforcement officials who show up in response. There are numerous suspects and persons of interest who are investigated, including a right-wing, anti-government extremist named David Lee Hicks (played by Patrick Labbé), a contractor named Dean Possey (played by Ralph Ineson) and a contractor business owner named Rodney Lang (played by Darcy Laurie).

A TV talk show host named Jimmy Kittridge affects the investigation when he makes incendiary comments about the killer and dares the killer to call him on Jimmy’s live talk show. “To Catch a Killer” could have made an interesting observation about how the media can help or hinder an investigation. Instead, the media angle to the story is used in a lazily conceived plot development that further lowers the movie’s already low credibility.

The performances in “To Catch a Killer” aren’t terrible, but they aren’t very convincing either. Woodley is just not believable as an emotionally hardened police officer who is supposed to have extraordinary perception about a serial killer’s mind. It just looks like she’s playing dress-up as a cop. Half of the time, Woodley’s acting is very wooden and stiff, which seems to be her attempt at trying to look “tough.”

Mendelsohn fares slightly better as a jaded and arrogant FBI agent, but for a guy who thinks he’s so smart, Geoffrey sure makes a lot of dumb mistakes. And some of those mistakes are deadly. Eleanor and Geoffrey have some personal bonding outside of their jobs when Geoffrey invites her to his home to have dinner with Geoffrey and his husband Gavin (played by Michael Cram), who has his own theories about who the killer is.

“To Catch a Killer” falls completely off the rails in the last 20 minutes, when the movie tries to cram in a not-very-believable conclusion of the investigation. “To Catch a Killer” might get some comparisons to the Oscar-winning 1991 serial-killer mystery thriller “The Silence of the Lambs,” but it’s like comparing junk food to a gourmet meal. Both movies also have very different female protagonists and how they do their investigating. “To Catch a Killer” (unlike “The Silence of the Lambs”) is mostly forgettable, often boring, and definitely won’t be nominated for any major awards.

Vertical released “To Catch a Killer” in select U.S. cinemas on April 21, 2023. The movie will be released on digital and VOD on May 16, 2023. “To Catch a Killer” will be released on Blu-ray and DVD on July 11, 2023.

Review: ‘Cyrano’ (2021), starring Peter Dinklage, Haley Bennett and Kelvin Harrison Jr.

February 23, 2022

by Carla Hay

Haley Bennett and Peter Dinklage in “Cyrano” (Photo by Peter Mountain/Metro Goldwyn Mayer Pictures)

“Cyrano” (2021)

Directed by Joe Wright

Culture Representation: Taking place in France sometime in the 1600s, the musical “Cyrano” features a predominantly white cast of characters (with some black people) representing the working-class, middle-class and wealthy.

Culture Clash: A highly intelligent and articulate soldier named Cyrano de Bergerac is secretly in love with a maiden named Roxanne, who has a mutual infatuation with Christian, a soldier who befriends Cyrano and asks Cyrano to write love letters to Roxanne for him. 

Culture Audience: “Cyrano” will appeal primarily to people who are inclined to like movie musicals and are fans of star Peter Dinklage.

Haley Bennett and Kelvin Harrison Jr. in “Cyrano” (Photo by Peter Mountain/Metro Goldwyn Mayer Pictures)

Elegantly designed but with song lyrics and dialogue that can be corny, the musical “Cyrano” features above-average performances that elevate the movie’s tendency to sink into old-fashioned stodginess. Based on Edmond Rostand’s 1897 “Cyrano de Bergerac” play, the movie can be enjoyed by people of many different generations, but some viewers might think the tone is too earnestly sappy. Love it, like it or hate it, “Cyrano” director Joe Wright, screenwriter Erica Schmidt and this movie’s talented cast give this version of “Cyrano de Bergerac” their own unique and heartfelt stamp.

The story is essentially about an unorthodox love triangle between an intelligent but insecure man named Cyrano de Bergerac, who’s hopelessly in love with a woman who is his friend, but she loves someone who is considered more physically attractive by society’s standards. The more physically attractive man has intelligence shortcomings, so he asks the lovelorn man to write letters to the woman to impress her. How long the two men can keep this secret depends on how the story is adapted. Different versions of “Cyrano de Bergerac” also vary the time periods and occupations of the three people in the love triangle.

In the “Cyrano” musical, which takes place in France in the 1600s (and was actually filmed in Italy), Cyrano de Bergerac (played by Peter Dinklage) is an unlucky-in-love cadet who has been secretly in love with maiden Roxanne (played by Haley Bennett) for her entire adult life. Roxanne only sees Cyrano (who works for the King’s Guard) as a friend. She appreciates his wit and his creativity. He writes poems, and they both share a love of literature.

The movie’s timeline of Roxanne and Cyrano’s relationship is vague. Conversations in the movie suggest that Roxanne and Cyrano have known each other since their childhoods. Even though the “Cyrano” filmmakers try to pass off Cyrano and Roxanne as being fairly close in their ages, it’s impossible not to notice the 19-year age difference between Dinklage and Bennett.

In the beginning of the movie, Roxanne and her lady-in-waiting Marie (played by Monica Dolan) are getting Roxanne ready for a date with a wealthy duke, who is taking her to see a theater play. Roxanne is financially broke and behind on her rent. Marie advises Roxanne to marry the duke for his money. “Children need love. Adults need money,” Marie quips.

The problem is that Roxanne’s suitor Duke DeGuiche (played by Ben Mendelsohn) is an overbearing, pompous lout whom Roxanne can barely tolerate. Roxanne is a romantic who would prefer to marry for love. While Roxanne and DeGuiche drive by carriage to the theater, a wayward man on the streets named Christian Neuvillette (played by Kelvin Harrison Jr.) sees Roxanne. And it’s infatuation at first sight for Christian, but he’s told by someone on the street that Roxanne is “way above your station.”

This movie’s Cyrano is not the bashful sad sack that he’s depicted as in other “Cyrano de Bergerac” adaptations. Cyrano is still self-conscious about his physical appearance, which is an intrinsic part of his personality. However, this version of Cyrano has a feisty and combative side that he shows during this theater play. Cyrano is at this theater venue because he wants to be the star of the show.

On stage, Cyrano confronts an actor named Montfleury (played by Mark Benton) in an imperious voice: “What are you doing here? I sent you a letter last week urging you to retire.” Montfleury snaps back, “I received your letter, and I burned it!” Cyrano’s response is to chase Monfleury off of the stage. The audience is amused when Cyrano announces about Montfleury’s departure: “I have saved you from seeing a fiasco!”

But things soon get dangerous when a man in the audience named Valvert (played by Joshua James) calls Cyrano a “freak.” Valvert and Cyrano end up fighting with swords on stage. Their duel ends with Cyrano’s victory. Cyrano then makes this self-deprecating comment to the audience: “What you heard is not a rumor. I’m living proof that God has a sick sense of humor.”

However, Valvert is a very sore loser. He lunges at Cyrano, a tussle ensues, and Cyrano stabs Valvert, who dies. Needless to say, all the chaos and violence have abruptly ended this show, as people in the audience leave, with many of them feeling horrified or in shock.

One of the people who’s disgusted by what took place is De Guiche, who tells Roxanne on the way back home that Cyrano went too far. Roxanne tells De Guiche that Cyrano was only acting in self-defense. She says that Cyrano is her oldest friend, and she knows him as someone who would never intentionally murder someone. De Guiche is not impressed, and he advises Roxanne to end her friendship with Cyrano.

Cyrano has another close confidant. His name is Captain Le Bret (played by Bashir Salahuddin), who is also a member of the King’s Guard. Cyrano has confided in Le Bret about his love for Roxanne and has sworn Le Bret to secrecy about it. For all of Cyrano’s bravado in public, he’s still very insecure about expressing many of his private feelings, especially when it comes to love.

When Christian becomes a newly recruited soldier for the King’s Guard, Roxanne sees him for the first time. And she’s convinced that it’s love at first sight. Christian wants to act on his attraction to Roxanne, but he doesn’t think he’s smart enough for her. Christian and Cyrano become friends, and Christian notices how Cyrano is an excellent writer. And so, Christian asks his new friend Cyrano to pretend to be Christian in writing love letters to Roxanne. After some reluctance, Cyrano obliges.

People who know the original “Cyrano de Bergerac” story will know how the rest of the movie will go, because this musical adheres fairly close to the source material. The love letters work their charm, but Roxanne is confused over why Christian is so inarticulate in person, compared to his letters. Cyrano is torn about whether or not to tell Roxanne the truth, because Cyrano’s role in this deception could permanently ruin his relationship with Roxanne. Meanwhile, the love triangle saga plays out on battlefields, in bedrooms and in the neutral meeting place of Cyrano’s baker/poet friend Ragueneau (played by Peter Wight). Ultimately, difficult choices must be made.

Dinklage, who is immensely talented and has a wonderfully expressive face, makes some of the scenes almost heartbreaking to watch. Dinklage’s Cyrano isn’t a flimsy caricature but rather complex in how Cyrano deals with his inner turmoil but often puts up a brave front to the public. Bennett performs well as Roxanne, while Harrison is good but a little generic in his role as Christian. Harrison is the best singer of the three cast members portraying this love triangle.

The rest of the cast members in supporting roles are serviceable but stereotypical. Salahuddin plays a predictable loyal sidekick. Mendelsohn portrays yet another villain in a long list of movie villains that he’s depicted in his career. Still, there’s that touch of swagger that Mendelsohn brings to the role of De Guiche that makes this character somewhat amusing to watch.

“Cyrano” has 13 original songs, with music written by twin brothers Bryce Dessner and Aaron Dessner and lyrics by Matt Berninger and Carin Besser. The Dessner brothers also wrote the movie’s musical score. Berninger, Bryce Dessner and Aaron Dessner are all members of the rock band The National. The music of “Cyrano” carries the story along just fine, but it’s not an exceptional soundtrack. Where the movie falters the most is in how the lyrics for these original songs are sometimes cornball and trite, like something written for a school production.

In De Guiche’s big showcase song “What I Deserve,” he pouts as he bellows these lyrics: “Come, Roxanne, am I asking for too much? Why should I have to beg for what everybody wants? Take me right now. I don’t care if I have your love. I don’t have fear. Nothing’s even, nothing’s fair. Roxanne, I didn’t ask you to be here. I’ll pick the lock, I’ll draw the knife. I’ll climb the walls, I’ll crash the gate, because I deserve a happy life.” This is supposed to be the defining song for the movie’s chief villain? No thank you.

And although the movie’s dialogue is thankfully not too flowery, sometimes it veers too much in the opposite direction of being overly simplistic and dull. This is what Roxanne has to say when she begins to see that Christian isn’t as smart as she was expecting: “He might be an incredibly beautiful man with the mind of a rabbit. He can’t be. I need him not to be.” Maybe those lines might pass muster in a TV soap opera, but they just sound a little out of place in a movie with such lavish costumes and elaborate production design.

“Cyrano” keeps a fairly good pace throughout the story, but there are still a few moments that drag monotonously. Some viewers might be disappointed that there aren’t more scenes of Roxanne and Cyrano together. Because this version of Cyrano has a personality that’s less predictable and more volatile than other movie interpretations of the character, Dinklage really carries the film when it comes to keeping viewer interest. For all of the movie’s flaws, Dinklage’s riveting performance is a memorable and spirited interpretation of a character that is often portrayed as self-pitying and borderline pathetic in other versions of “Cyrano de Bergerac.”

Metro Goldwyn Mayer Pictures released “Cyrano” for a limited engagement in Los Angeles, beginning on December 17, 2021. The movie is set for a wide release in U.S. cinemas on February 25, 2022.

Review: ‘Babyteeth,’ starring Eliza Scanlen, Toby Wallace, Emily Barclay, Eugene Gilfedde, Essie Davis and Ben Mendelsohn

June 19, 2020

by Carla Hay

Eliza Scanlen and Toby Wallace in “Babyteeth” (Photo courtesy of IFC Films)


Directed by Shannon Murphy

Culture Representation: Taking place in Sydney, the drama “Babyteeth” has an almost all-white cast (with a few Asian characters) representing the middle-class.

Culture Clash: A teenage girl with a terminal illness falls in love with an older guy who’s a drug addict/drug dealer, and the relationship goes against her parents’ wishes.

Culture Audience: “Babyteeth” will appeal primarily to people who like intricate character studies that tackle difficult subjects through the perspective of one family.

Essie Davis, Toby Wallace, Eliza Scanlen and Ben Mendelsohn in “Babyteeth” (Photo courtesy of IFC Films)

How many times has this been done in a movie? A straight-laced teenage girl becomes rebellious by dating an older “bad boy” and clashes with her parents who don’t approve of the relationship. “Babyteeth,” which is set in Sydney, takes this well-worn concept and sneaks up on viewers by going down a path that most people won’t expect by the end of the film. It’s an impressive feature-film debut from director Shannon Murphy, who shows that she has a unique vision that is at times bold and experimental for the subject matter.

“Babyteeth” is also the first feature film written by Rita Kalnejais, who adapted the screenplay from her play of the same title. Each of the movie’s scenes is shown as a different title on the screen (something that most directors would never do), with descriptions such as “Anna and Henry’s Tuesday Appointment,” “Insomnia” and “Love.” And although youthful rebellion is a big part of the story, “Babyteeth” is also about how a child’s terminal illness can affect the marriage of the child’s parents.

The relationship that causes a lot of the chaos in the story is that of 15-year-old Milla Finlay and a 23-year-old small-time drug dealer/addict named Moses (played by Toby Wallace), who literally crashes into her when he runs on a train platform where Milla is waiting. By all outward appearances, Moses is a sketchy character: He’s unkempt, he’s got some tattoos his face and he has the look of someone who’s strung out on drugs.

Moses makes small talk with a stunned Milla, who looks every inch the sheltered schoolgirl that she is, with her neatly pressed school uniform and wide-eyed gaze. While Milla and Moses are talking, she gets a nosebleed. And then he takes his shirt off and cradles her while he uses the shirt to stop the nosebleed. Milla is immediately smitten, even though she eventually has to ask Moses to take his shirt off of her face because it smells so bad. (It’s an example of the film’s little touches of humor.)

It isn’t long before Moses tells Milla that he’s homeless, and he sheepishly asks her for money. She gives him $50, but she coyly tells him that since she gave him this money, he has do something for her in return. The next thing you know, Moses is giving Milla a choppy haircut at his mother’s house.

Moses’ single mother Polly (played by Georgina Symes) breeds and trains Bichon Frise dogs as her job. She lives with Moses’ pre-teen brother Isaac (played by Zack Grech), who gets along well with Moses, but their mother most certainly does not. Polly has so much animosity toward Moses that when she sees him with Milla in her house, she immediately calls the police to report a break-in.

Moses and Milla then run off, and Milla (who’s an only child) impulsively invites Moses over for dinner at her place. Milla’s surprised parents—psychiatrist Henry (played by Ben Mendelsohn) and homemaker Anna (played by Essie Davis)—try to be polite and accommodating, but they’re actually horrified that Milla has brought home an older guy who is an obvious bad influence on their daughter.

During dinner, Milla mentions that she still has her baby teeth, “which is an aberration for someone as old as me.” When Moses opens Milla’s mouth to look inside, this suggestive flirting becomes too much for Anna, who yells at Moses to stop. And there’s a reason why the movie is called “Babyteeth,” since the teeth are symbolic of Milla’s innocence, and this symbolism is made very clear in another scene later in the movie.

Although Anna and Henry both disapprove of Moses when they first meet him, Anna is more protective of Milla than Henry is. “What have you done to my daughter?” Anna asks Milla. “I killed her,” Milla replies. The next day, Milla tells Anna that she thought Anna was being rude to Moses. Anna responds, “He’s got problems!” Milla shouts back, “So do I!”

And those problems are health-related, because Milla has cancer. She was in remission, but the cancer has come back with a vengeance. Milla undergoes chemotherapy, and since she loses all of her hair, she wears various wigs throughout the movie. At first Milla is self-conscious about no longer having her real hair, but then she learns to embrace different wigs to express herself.

Meanwhile, Henry and Anna are having issues in their marriage. Henry has prescribed several medications for Anna, which cause her to have mood swings. Their sex life (shown in near the beginning of the film) happens in furtive moments, such as in Henry’s office, and has become pretty unfulfilling for both of them.

Therefore, it’s not a surprise when Henry takes notice of a pretty, slightly offbeat woman who lives in the neighborhood. Her name is Toby (played by Emily Barclay), and Henry first meets her while he’s walking in the neighborhood and she goes looking for her missing dog, which is also named Henry. Toby is in the advanced stages of pregnancy, but when Henry meets her for the first time, she’s smoking a cigarette.

Henry admonishes Toby for smoking. Toby isn’t the brightest bulb in the drawer. She tells Henry that smoking while pregnant is okay because she read it online somewhere. In spite of Toby’s intellectual shortcomings, it’s obvious that Henry is kind of attracted to her.

There’s also a subplot that doesn’t work too well in the film: Milla plays the violin as a hobby and is in a small music class with a pre-teen violin prodigy named Tin Wah (played by Edward Lau). Milla’s music instructor Gidon (played by Eugene Gilfedder) used to work with Anna (who plays the piano) when Gidon and Anna were touring as part of a classical music group several years ago. Gidon apparently was or is in love with Anna, but the feeling wasn’t mutual. Aside from Gidon noticing that Milla seems to be in love after she meets Moses, the Gidon character is fairly unnecessary to the story.

Anna still feels guilty over not being there for Milla much as she wanted to be when Milla was a baby, because of Anna’s work commitments at the time. It’s probably why Anna feels very overprotective of Milla and wants to have a close relationship with her daughter, who is pulling away emotionally from her parents and is caught up in the idea of getting Moses to be her boyfriend.

Even though Moses is sleazy, he’s still wary of getting involved with an underage girl. Meanwhile, Milla is already calling him her “boyfriend,” and she asks him to be her date to her 10th grade formal dance. Her giddy reaction when he says yes is an example of how much Milla is still a child.

Milla’s parents have every reason to be concerned about Moses, because shortly after Milla and Moses start dating each other, Moses breaks into the Finlay home to steal medication. Anna catches him in the act and Henry is ready to call the police, but Milla begs him not to do it.

Thus begins a pattern for most of the movie: Moses does something selfish and reckless, one of Milla’s parents (usually Anna) orders Moses to stay away from Milla, but then the parents let Moses back into their lives. The only logical explanation for this back-and-forth is that the parents are torn about what to do.

On the one hand, they know that Moses is too old to be dating their daughter and he isn’t a great guy. On the other hand, they know Milla might not live long and they want her to be as happy as possible. And that “nothing left to lose, live in the moment” mentality is why Milla fell so hard and fast for Moses.

There’s a particularly effective (and visually stunning) scene where Milla and Moses end up at a nightclub together. It’s a turning point in their relationship because it’s the first time that she’s taken into his world of nightlife partying. And it’s the first time that Moses shows jealousy when Milla gets attention from another guy.

Scanlen, Mendelsohn and Davis all give dynamic and believable performances as the dysfunctional Finlay family. Although all three of these characters make some cringeworthy choices in the film when it comes to their interactions with Moses, “Babyteeth” effectively shows that the trauma of cancer can cause people to do things that they might not normally do.

“Babyteeth” isn’t a typical angsty teen drama about a girl who’s dating someone her parents don’t really like. The last third of the movie takes a very dark turn that might be disturbing for some viewers. However, “Babyteeth” is an emotionally stirring character study of what people will do to cope with pain and mental anguish that they really don’t want to talk about having.

IFC Films released “Babyteeth” in select U.S. cinemas, digital and VOD on June 19, 2020.

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