Culture Representation: Taking place in the Muskoka Lakes area of Canada’s Ontario province, the comedy/drama film “My Old Ass” features a predominantly white group of people (with a few black people) representing the working-class and middle-class.
Culture Clash: In the summer before she goes away to college, a restless teen takes psychedelic mushrooms on her 18-year-old birthday and meets her 39-year-old self, who gives her some advice that the teen is reluctant to take.
Culture Audience: “My Old Ass” will appeal mainly to people who are fans of the movie’s headliners and well-acted stories about growing pains in young adulthood.
“My Old Ass” capably blends comedy, drama and fantasy in this sarcastically sweet coming-of-age story about an 18-year-old communicating with a manifestation of her 39-year-old self. Maisy Stella gives a standout performance as a teen on an identity quest. The movie isn’t for everyone but it will find appeal with open-minded people who aren’t offended by how obscene cursing, casual sex and illegal drug use are presented as part of a teenager’s life.
Written and directed by Megan Park, “My Old Ass” had its world premiere at the 2024 Sundance Film Festival. The tone of the movie is much lighter than 2022’s “The Fallout,” Park’s feature-film directorial debut about teenagers dealing with the aftermath of a mass-murder shooting at their school. Park has a knack for casting very talented people in the roles that are right for them because they inhabit their roles in authentic ways. “My Old Ass” is Stella’s impressive feature-film debut after having roles in television, such as the TV series “Nashville.”
“My Old Ass” takes place during a summer in an unnamed city in the Muskoka Lakes area of Ontario, Canada, where the movie was filmed on location. Main character Elliott (played by Stella) lives on a cranberry farm owned by her parents Tom (played by Al Goulem) and Kathy (played by Maria Dizzia), who are very loving and supportive of each other and their three children. Elliott is the middle child.
Elliott’s older brother Max (played by Seth Isaac Johnson) is about 19 or 20. He has chosen to be in the family business of cranberry farming. Max and Elliott have an emotionally distant relationship because they are almost polar opposites of each other. Max is introverted and straight-laced. At one point in the movie, Max says to Elliott: “I’m everything you hate. I like farming. I like sports. I hate [the TV series] ‘Euphoria.'”
The younger brother of Max and Elliott is Spencer (played by Carter Trozzolo), who is about 10 or 11 years old. Carter is nice but doesn’t have much of a personality. Elliott definitely likes Spencer more than she likes Max. Still, Elliott doesn’t really hang out with her brothers very much. Elliott also tells anyone who will listen that she can’t wait to move away from this cranberry farm and live her life in the big city of Toronto. In the meantime, Elliott spends a lot of time cruising on a motorboat in a lake.
In the beginning of the movie, Elliott will be leaving in 22 days for her freshman year at the University of Toronto. Also in the beginning of the movie, Elliott identifies as a lesbian, but that will change when she falls for a guy about a year or two older than she is. Elliott has a flirtation with a teenage woman named Chelsea (played by Alexandria Rivera), who’s about the same age, and the flirtation turns into a sexual fling.
Elliott’s two best friends are also free spirits: Ruthie (played by Maddie Ziegler) is tactful and a romantic at heart. Ro (played by Kerrice Brooks) is more outspoken and pragmatic. For Elliott’s 18th birthday, the three pals plan to go camping overnight in the woods and take psychedelic mushrooms that were purchased by Ro. Elliott doesn’t bother to tell her family about these camping plans, so there’s a scene of Elliott’s family waiting forlornly at their dining table with a birthday cake that Elliott never sees on her birthday.
While high on the mushrooms, Elliott is near a campfire when she suddenly sees a woman (played by Aubrey Plaza) sitting next to her. The woman says that she is Elliott at 39 years old. Elliott doesn’t believe her at first until the woman shows Elliott that she has the same torso scar that Elliott got from a childhood accident. Both of the Elliotts have some back-and-forth banter—younger Elliott thinks 39 is middle-aged, while older Elliott thinks 39 is still a young age—and trade some snide quips about what the future holds for Elliott.
The older Elliott will only reveal that she is a Ph. D. student in Toronto and is dating a woman. Younger Elliott asks older Elliott for life advice. Older Elliott tells younger Elliott to be nicer to her family and not take them for granted. Younger Elliott also asks older Elliott what her definition is of healthy love. Older Elliott says that healthy love is safety and freedom at the same time. After some of the jokes and semi-insults, older Elliott gets serious and gives younger Elliott a dire warning to not have sex with someone named Chad, but older Elliott won’t say why. It’s a warning that confuses and haunts younger Elliott for most of the movie.
Elliott goes home after the camping trip and thinks older Elliott was just a hallucination until she sees that older Elliott had put her phone number in younger Elliott’s phone. Not long after this psychedelic experience, Elliott is skinny dipping in a lake when has a “meet cute” experience with a guy named Chad (played by Percy Hynes White), who’s also in the lake for a swim. It turns out that Chad is an undergrad college student who is working at the farm for the summer. He has plans to eventually get a master’s degree in pharmacology.
“My Old Ass” then becomes mostly about Elliott trying to navigate and understand her growing feelings for Chad, who is intelligent, funny and kind. Elliott is confused not only because her older self told her to stay away from Chad but also because Elliott had always assumed that she would only be sexually attracted to women. Chad is clearly attracted to Elliott too, but she is very reluctant to get involved with Chad.
“My Old Ass” has a lot of familiar “will they or won’t they” scenes in movies about two people who are romantically attracted to each other, but one person is hesitant to act on these feelings. The movie has some quirky comedy, including another hallucinogenic experience involving Justin Bieber’s 2009 hit “One Less Lonely Girl.” All of the principal cast members are utterly believable in their roles and have great comedic timing in the performances.
What might surprise viewers and is perhaps somewhat disappointing is that the older Elliott isn’t in the movie as much as the trailer for “My Old Ass” would lead people to believe. In fact, there’s a great deal of the movie where younger Elliott is frantic and frustrated because older Elliott won’t return younger Elliott’s phone calls. There are also huge parts of the movie where Elliott’s best friends Ruthie and Ro aren’t seen at all.
“My Old Ass” has themes that are timeless, but a lot of the movie’s jargon and pop culture references are very mid-2020s and already kind of outdated. Some of the dialogue sounds forced, like an adult’s idea of what a progressive-minded, motormouthed teen (Elliott) would sound like when it just sounds like movie dialogue, not real-life dialogue. These are small flaws in a movie that is overall well-paced, fairly unique and elevated by a very talented cast.
Even though there could have been more scenes between younger Elliott and older Elliott, the movie makes a point of showing that this story doesn’t want to rely too heavily on a time-traveling gimmick. And although the movie’s title is “My Old Ass,” the story’s focus remains consistently from the perspective of younger Elliott. Viewers will be curious to know what older Elliott’s secret is about Chad, but the most interesting and best part of the movie is how Elliott reacts when she inevitably finds out this secret.
Amazon MGM Studios released “My Old Ass” in select U.S. cinemas on September 13, 2024, with an expansion to more U.S. cinemas on September 27, 2024.
Culture Representation: Taking place in an unnamed city in Canada, the comedy/drama film “Fitting In” (which is semi-autobiographical story from writer/director Molly McGlynn) features a predominantly white cast of characters (with some African Americans and Latinos) representing the working-class and middle-class.
Culture Clash: A 16-year-old girl finds out that she has a rare gynecological condition called MRKH syndrome, where she can’t menstruate or conceive children, and she struggles with how to tell people who might be friends or intimate partners.
Culture Audience: “Fitting In” will appeal primarily to people who are fans of star Maddie Ziegler and movies that take an empathetic look at reproductive issues that are rarely depicted in movies.
The narrative of “Fitting In” occasionally wanders, but this comedy/drama has convincing performances in this coming-of-age story of a 16-year-old girl with a rare gynecological condition. It’s a unique movie with familiar views of teenage life. Because the movie’s story is based partially on the real-life experiences of “Fitting In” writer/director Molly McGlynn, “Fitting In” has a tone of authenticity that is complemented by the movie’s talented cast members.
“Fitting In” had its world premiere at the 2023 Toronto International Film Festival. McGlynn is a Canadian filmmaker. “Fitting In” takes place in an unnamed Canadian city and was actually filmed in Sudbury, Ontario. Although the movie takes place in Canada, it has situations and themes that are relatable to many cultures and the growing pains that teenagers experience.
“Fitting In” begins and ends with a scene of 16-year-old girl named Lindy (played by Maddie Ziegler) masturbating on her bed in her bedroom. By the end of the movie, she’s not quite the same person that she was in the beginning of the movie. That’s because by the end of the movie, she has already gotten the life-changing news that she has MRKH syndrome, a rare gynecological condition. Lindy has ovaries but no uterus, no cervix, and her vaginal canal is very stunted. She was born this way.
In the beginning of the movie, Lindy (who is an only child living with he divorced mother) thinks that she’s a typical teenager with typical teenage issues. She has a crush on a charismatic classmate named Adam (played by D’Pharaoh Woon-A-Tai), who is a popular athlete at their high school. Lindy, who is a virgin when the story begins, isn’t quite sure how much Adam likes her or is attracted to her, but he has definitely noticed her. In fact, when Lindy is first seen masturbating in the movie, she’s having a fantasy that she and Adam are having sex.
Lindy has a talkative best friend named Vivian (played by Djouliet Amara), who is gossipy about what other students are doing in their love lives. One day, Lindy and Vivian are talking about Adam and his most recent ex-girlfriend, who is another student named Karina. Lindy wonders out loud if Adam and Karina had sex when they were a couple. Vivian days that Adam and Karnina most likely had sex and Karina “does anal.”
Vivian and Lindy are both rising-star athletes on their school’s track team. Lindy has a harmless crush on their track coach, whose name is Coach Mike (played by Dennis Andres), a tattooed guy in his 30s. Lindy’s identity at school is wrapped up in being on the track team, but her outlook on life and who she is will change after she finds out that she has MRKH syndrome
Lindy hasn’t begun menstruating yet, but she thinks it’s because she’s late bloomer. She’s still embarrassed about not getting her menstrual period when it seems like all of her teenage girl peers have already developed in this way. Lindy pretends to Vivian and anyone else who might notice that Lindy has a menstrual cycle.
Lindy and Vivian happen to be in a drugstore together when they meet a classmate named Jax (played by Ki Griffin), who identifies as non-binary and uses the pronouns “they” and “them.” Jax is androgynous-looking and happens to be intersex, which means that Jax was born with male and female genital characteristics. Over time, Lindy and Jax get to know each other better. The movies shows whether or not Lindy and Jax confide in each other about their unusual biological conditions.
Meanwhile, a large part of “Fitting In” is about the sometimes-tense relationship between Lindy and her mother Rita (played by Emily Hampshire), a therapist who works from home and often does sessions with her clients through online videoconferencing. When Lindy and Rita argue, it’s usually because Lindy thinks Rita is being too meddling, while Rita thinks Lindy is being too standoffish with Rita. Lindy’s father abandoned Rita and Lindy when Lindy was very young, and he is no longer in their lives. Rita is neurotic and insecure about a lot of things: dating as a single mother, being rejected, and dealing with past trauma from her childhood.
Rita mentions that her own mother was difficult and “crazy,” which is why Rita tries so hard to have a good relationship with Lindy. Rita is in a situation that many mothers of teenage girls experience: As the teenage daughter approaches adulthood, the mother wants to have a balance of being an authoritative parent and being an understanding friend. It’s a balance that is often uneasy and often comes with misunderstandings and conflicts, as the teenage daughter wants more independence from a parent.
When Lindy tells Rita that Lindy still hasn’t developed a menstrual cycle, Rita immediately arranges for Lindy to go to a gynecologist named Dr. Aranda (played by Rhoslynne Bugay), who is professional and informative. Lindy and Rita find out at the same time in the doctor’s office that Lindy has MRKH syndrome. Rita bursts into tears. Lindy is in shock and is initially confused, until the knowledge starts to sink in that Lindy can never get pregnant or give birth.
“Fitting In” shows the fluidity of Lindy’s dating experiences, as three people end up getting sexually close to Lindy in various ways: Adam; a mild-mannered, fast-food worker named Chad (played by Dale Whibley); and Jax. “Fitting In” is mostly about Lindy’s journey in the weeks after she finds out about having MRKH syndrome. She goes through a myriad of emotions that Ziegler expresses realisitically. The supporting cast members, especially Hampshire, Woon-A-Tai and Griffin also handle their roles with aplomb.
Aside from issues about her reproductive health, Lindy’s diagnosis MRKH syndrome also affects her sexual health. She is given medical dildos by a nurse named Lisa (played by Emma Hunter), who tells Lindy that it will take about three to 18 months of using these dildos to create a vaginal opening that looks “normal.” Lisa tactlessly tells Lindy about using these dildos to make Lindy’s vagina bigger: “You’re an athlete, right? Think of it like training or vagina boot camp.” Lindy also has visits with another gynecologist named Dr. Doheny (played by Michael Therriault), who is less compassionate than Lisa.
“Fitting In” has typical scenes of teenage parties, where some of the drama happens in Lindy’s love life. She also has an awkward experience when her gynecologist recommends that she go to a support-group meeting for people who identify as LGBTQIA2S+ (lesbian, gay, bisexual, transgender, queer/questioning, intersex, asexual, or two-spirit), where Jax is a regular attendee. Lindy grapples with shame, defiance, anger and acceptance about her condition. Ultimately, “Fitting In” tells a sometimes-serious, sometimes-amusing story that allows viewers to think about how much or if reproductive organs should define the essence of who people are.
Blue Fox Entertainment released “Fitting In” in select U.S. cinemas on February 2, 2024.
Culture Representation: Taking place in 1957 in New York City, the musical drama remake “West Side Story” features a cast of white and Latino people representing the working-class.
Culture Clash: A young Puerto Rican woman and a young Polish American man fall in love with each other, despite having people close to them who are in rival, warring gangs that are opposed to this romance.
Culture Audience: Besides the obvious target audience of fans of the original “West Side Story” movie musical, this 2021 version of “West Side Story” will appeal primarily to people who are fans of director Steven Spielberg and movie adaptations of Broadway musicals.
The 2021 remake of “West Side Story” is exactly the glossy spectacle that you might expect from director Steven Spielberg. The movie is a bonafide crowd-pleasing epic that makes some interesting changes from the 1961’s “West Side Story” movie, a classic that was directed by Jerome Robbins and Robert Wise. In the 2021 version of “West Side Story,” some of these changes work better than other revisions to the original movie. The original “West Side Story” movie was based on a Tony-winning musical that debuted on Broadway in 1957. The Broadway musical was written by Arthur Laurents, with music by Leonard Bernstein and lyrics by Stephen Sondheim. Ernest Lehman wrote the screenplay to the 1961 “West Side Story,” while Tony Kushner wrote the screenplay to the 2021 “West Side Story.”
The original “West Side Story” movie starred Natalie Wood, Richard Beymer, Rita Moreno and George Chakiris as four young people in New York City who are caught in the middle of gang warfare, ethnic bigotry and risky romance. Moreno and Chakiris won Oscars for their supporting roles in the movie, which won a total of 10 Oscars, including Best Picture. (Moreno’s Oscar victory was groundbreaking, as she became the first Latina to win an Academy Award.) Is the 2021 version of “West Side Story” worthy of 10 Academy Awards? No, but there are some standout performances that should bring more attention to some very talented cast members. They do all their own singing, unlike some of the stars of the original “West Side Story” movie.
Most fans of musicals already know the basic premise of “West Side Story,” which is set in New York City (specifically, in a working-class area of Manhattan’s West Side) in 1957. It’s a story inspired by William Shakeapeare’s “Romeo and Juliet.” In “West Side Story,” a sweet and innocent Puerto Rican woman named Maria, who’s in her late teens, falls in love with a slightly older, streetwise Polish American man named Tony, who is an ex-con trying to start a new and reformed life away from an all-white gang that he used to lead called the Jets. Maria’s domineering older brother Bernardo is the leader of an all-Puerto Rican rival gang called the Sharks. Bernardo is dating Maria’s sassy best friend Anita. Needless to say, the romance of Maria and Tony sparks a war between the Jets and the Sharks.
In the original “West Side Story” movie, Wood was Maria, Beymer was Tony, Moreno was Anita and Chakiris was Bernardo. In the 2021 “West Side Story” remake (which also takes place in 1957), Rachel Zegler is María, Ansel Elgort is Tony, Ariana DeBose is Anita and David Alvarez is Bernardo. Unlike the original “West Side Story” movie, Spielberg’s “West Side Story” remake avoids any criticism of “whitewashing” racial casting, by casting the people of color characters with actors who are also people of color. Zegler is a Latina of Colombian heritage. DeBose is multiracial; in interviews, she sometimes identifies herself as African American. (DeBose’s father is Afro-Latino, and her mother is white.)
Perhaps the biggest and best change to the “West Side Story” remake is the clever idea to cast original “West Side Story” movie co-star Moreno in the role of a new character: Valentina, the no-nonsense but kind-hearted owner of a drugstore called Doc’s Chemists, where Tony works. In this version of “West Side Story,” Valentina is the widow of Doc, the store’s owner in the original “West Side Story” movie. (Doc was played by Ned Glass.) Considering all the racial discord in the story, the Valentina character gives the movie added poignancy because a Latina woman has given Tony a chance to redeem himself and start a new life.
Valentina represents the bridge between the divides caused by racism and xenophobia in the community that’s depicted in the movie. And there’s an extra layer of female empowerment/solidarity in a pivotal scene in the movie, when Anita defends herself from being attacked in the store by members of the Jets, and Valentina intervenes to put a stop to the assault. This scene has a greater impact than in the original “West Side Story,” when the upstanding but somewhat wishy-washy Doc was the one who stopped the attack.
Rather than putting the scene in a stereotypical context of a man coming to the rescue of a woman, this “West Side Story” movie has a woman in charge (Valentina), who is the unflinching moral compass in a maelstrom of hate and chaos. The scene is also symbolic of all the racism and sexism that women of color have had to experience and what happens when women help each other in moments of distress and pain. Moreno has talked extensively in interviews about how this scene was the most emotionally difficult one for her to film in the original “West Side Story,” and she has said it was a surreal experience to film it again in the “West Side Story” remake—this time, as the rescuer instead of the one being attacked.
Spielberg’s “West Side Story” remake stays true to the main elements of the story. The movie opens with the Jets in a rubble-filled area that’s undergoing reconstruction to make way for higher-priced homes. The Jets, led by Tony’s best friend Riff (played by Mike Faist), are hoodlums who come from dysfunctional families and are hostile toward non-white immigrants whom they feel are taking over the city. Since 1917, Puerto Rico has been a U.S. territory, and people born in Puerto Rico are U.S. citizens. But that doesn’t stop people like the Jets (and many other xenophobic and racist people) from thinking that Puerto Ricans aren’t “real Americans.” If Tony had any past racism when he was in the Jets, it’s not directly mentioned in the movie. What’s clear is that Tony is now a reformed person and very much against racism.
Meanwhile, many of the Sharks, including Bernardo, dislike white people, whom they see as racist oppressors. Puerto Ricans such as Bernardo, María and Anita are U.S. citizens but feel like immigrants in the United States, where English is the dominant language and there’s open hatred and discrimination against people who aren’t white. Bernardo feels that the Sharks are superior to the Jets because, as he tells Riff in one of their many confrontations, at least most of the Sharks have jobs. The Jets—who are U.S.-born, mostly unemployed descendants of white European immigrants—are fueled by anger in their perception that the American Dream has been ripped away from them.
María, Bernardo, and Anita (who all pay rent and share the same apartment in this “West Side Story” remake) represent the American Dream of people whose first language is not English, which they’ve had to learn in order to get certain opportunities. María, Bernardo and Anita also represent Puerto Ricans who come to the United States in search of a better life while the majority of their families still live in Puerto Rico. Coming to a place like New York City—where the cost of living and is higher and the living spaces are smaller than most other U.S. cities—can be a rude awakening that can be handled with optimism or pessimism. This dichotomy is represented in one of the musical’s most famous song-and-dance numbers: “America,” with Anita taking the lead for the optimistic side, and Bernardo taking the lead for the pessimistic side.
A noticeable difference in this “West Side Story” remake is that the Puerto Ricans speak a lot more Spanish—and there are no subtitles. It’s a clear indication that Spielberg (who is one of the movie’s producers) wanted this version of “West Side Story” to be more inclusive to Spanish-speaking audiences and present a more realistic depiction of people who speak more than one language. Although the 2021 version of “West Side Story” has no subtitles for the Spanish-language dialogue, it’s easy for people who don’t know Spanish to figure out what what’s being said, based on the cast members’ tones of voice, body language and facial expressions.
In this movie remake, the Puerto Rican characters are less concerned about assimilating in English-speaking America than their counterparts were in the 1961 version of “West Side Story.” Valentina even says so, when she makes this comment about her interracial marriage: “I married a gringo. He thinks that makes me a gringo. I ain’t.”
“West Side Story” was ahead of its time for having the androgynous Anybodys character, who is presented in both movies as a young transgender man, during an era when the word “transgender” did not exist. In the “West Side Story” remake, Anybodys (played by Iris Menas) is a lookout for the Jets. Anybodys is sometimes referred to as a “girl,” but Anybodys would rather be just one of the guys.
There’s a point in the movie where people start using male pronouns to describe Anybodys—and that makes Anybodys very happy. In the 2021 “West Side Story” remake, Anybodys has less screen time than the Anybodys in the first “West Side Story” movie. The character is depicted with more subtlety and less-exaggerated mannerisms in the remake.
Just like in the original “West Side Story,” the movie begins with the introduction of the Jets, followed by the Sharks, and the tensions between the two gangs. The Jets are first seen emerging from the rubble with paint cans, which they use to commit vandalism on an outdoor wall mural of the Puerto Rican flag. (This vandalism of a Puerto Rican flag mural is new to the remake.) The Sharks see this vandalism, are offended, and a brawl ensues between the two gangs until police arrive to break up the fight.
On the scene is Officer Krupke (played by Brian d’Arcy James), a “regular Joe” cop who would like nothing more than for the Jets and the Sharks to stop fighting each other, even though he knows that’s not very realistic. Krupke’s swaggering boss is Lieutenant Schrank (played by Corey Stoll), who’s even more impatient with these rival gangs than Krupke is. Schrank gruffly insults the Jets by calling them “the last of the can’t-make-it Caucasians,” and he barks this order: “Evict yourself from my crime scene, Bernardo!”
The Jets and the Sharks don’t trust each other, but both gangs have even less trust of the police. It’s why no one in either gang will snitch when the police try to find out who started the violent fight. No one is arrested this time, but the fight’s not over. As soon as the cops leave, Riff and Bernardo agree that there should be a rumble to decide which gang will come out on top. Anita and María openly express their disapproval of Bernardo’s gang activities, but he doesn’t pay attention to them, and there’s not much María and Anita can do to stop him.
Riff is somewhat of a reluctant chief of the Jets because he became the default leader when Tony was sent to prison for attempted murder of a young man during a gang fight. Now on parole, Tony is keeping his distance from the Jets because he truly wants to turn his life around and no longer be a criminal. Tony will not rejoin the Jets, despite Riff’s constant pleas.
Faist’s version of Riff has an insecure scrappiness to how he handles his gang leadership, indicating that Riff craves and fears power. He looks like he’s got a more fascinating and harrowing story to tell than Russ Tamblyn’s version of Riff in the first “West Side Story” movie. Tamblyn’s Riff looks like a frat boy gone bad. Faist’s version of Riff looks like a real street survivor who’s had a rough life and has the facial scars to prove it.
Riff has a platinum-blonde girlfriend named Velma (played by Maddie Ziegler), who is loyal and loving to him, but she disapproves of him getting involved in violent crimes. It’s a change from the Velma in the first “West Side Story” movie, where Velma was much more of a gang moll who looked the other way or encouraged Riff to be a violent thug. Ziegler became an actress after years as a professional dancer. Her dance expertise shows in Velma’s feisty and eye-catching dance moves.
In this “West Side Story” remake, Tony goes into more details about his life in prison in ways that weren’t in the original “West Side Story” movie. He still talks more about how prison changed him and made him determined to lead a law-abiding and productive life, but he expresses more guilt about the crime and more remorse about how he hurt the victim. After he was released from prison, Valentina gave Tony a job and a place to stay. (He lives in the store’s basement.) Valentina has known the members of the Jets since they were children. She has become a mother figure to Tony, who is estranged from his parents.
Just like in the original “West Side Story,” Tony and María meet and have a “love at first sight” encounter at a dance attended by local young people, including the members of the Jets and the Sharks. The dance’s chaperone announces at the dance that it’s a “social experiment” to better integrate white people and Latinos who live in the area. “And then you can all go back to your feral lives,” the chaperone cynically adds. However, racial segregation is still a fact of life that the attendees find difficult to change at this dance. They still congregate in groups according to race, including the inevitable dance-off where Anita and Bernardo outshine everyone else.
As an example of how much slicker this version of “West Side Story” is, the dance is held at a shiny-looking, well-lit school gymnasium, compared to the somewhat dark and grimy-looking dancehall in the original “West Side Story” movie. It’s a setting that looks a little too polished and well-kept for an area that’s supposed to be populated by people who are struggling financially and has public schools that are more run-down than they should be.
Tony has come to this dance reluctantly, after much persuasion from Riff, who wants to use the dance as away for Tony to see all of his former gang pals again. But once Tony and María lock eyes, meet cute behind the gym bleachers, and exchange some smitten dialogue, Tony can’t think of anything else but being with María. Tony and María couple up immediately by dancing together and having their first kiss just a few minutes after meeting that night. They agree to meet the next day at a museum.
Tony and María’s attraction to each other doesn’t go unnoticed. Bernardo orders Tony to stay away from María . Bernardo would rather that María date someone who’s Puerto Rican, such as his mild-mannered best friend Chino (played by Josh Andrés Rivera), who is not a member of the Sharks, although Chino would like to be. Chino was sort of Maria’s date at this dance, but Chino and María’s relationship has always been about platonic friendship only.
At the dance, Bernardo gets a little rough by pushing Tony away when he sees that Tony is interested in María. Riff and the rest of the Jets come to Tony’s defense, which leads the Sharks to get in on the dispute. María and Anita are disgusted with all of this seemingly never-ending fighting between the Sharks and the Jets, so they leave the dance. However, Tony doesn’t join his former gang cronies in this fight and instead runs out of the dance to look for María , but she is long gone.
The next day at Doc’s store, Tony has told Valentina about this new romance. He asks Valentina how to say, “I want to be with you forever” in Spanish, so that he can make this declaration of love to María on their first date. These kids move fast. Even Valentina notices how quickly Tony wants to commit to María, by cracking this joke: “You sure you don’t want to ask her out for coffee first?” Because this movie is set in the 1950s, when it was more common for people in the U.S. to get married in their late teens and early 20s, this swift courtship is easier to believe than if the movie had been set in the present day.
María and Tony are blissfully happy together in the short time that they’ve known each other, but their romance is threatened by the growing hatred between the Jets and the Sharks. The “West Side Story” remake keeps the sentiment that María and Tony have a pure love for each other. It’s a love that borders on obsession, especially in a scene where María gets some very bad news about something Tony did to hurt one of María’s loved ones, and her priority is to comfort Tony. However, there’s a slight but noticeable difference in how the remake presents this scene, which is in a better way than the first “West Side Story” movie.
The “West Side Story” remake has no drastic revisions to the songs’ tempos or arrangements. The movie also doesn’t add any original songs that were written specifically for this remake, in an attempt to get awards for new and original movie music. The song placements mostly stay true to the original, with some notable exceptions.
“I Feel Pretty,” Maria’s joyous ode to romance and self-confidence, has a different setting. In the original “West Side Story” movie, Maria sang “I Feel Pretty” in a private room with three seamstresses. In the “West Side Story” remake makes this musical number a much more public spectacle.
María works as a cleaning woman at a boutique. She sings “I Feel Pretty” while dancing through the rooms of the boutique with several other cleaning women during after-hours. This setting gives the scene a more aspirational tone to what the characters do, as they let loose in a boutique where they work but probably can’t afford the clothes that are sold in the boutique.
Fans of Moreno will have to wait until the last third of the movie for Valentina’s big musical moment: the show-stopping tune “Somewhere,” which she performs solo. It’s an absolute exquisite rendition that might make some viewers more than a little misty-eyed. All of the cast members rise to the occasion to make this “West Side Story” very entertaining and emotion-filled. There isn’t a mediocre performer in the movie’s principal cast.
Zegler carries her scenes as María with an eager-to-please demeanor. She doesn’t have the star power of Wood, but Zegler and Elgort have nice chemistry together as María and Tony. Elgort doesn’t always sound like the working-class New Yorker that he’s supposed to be as Tony when he speaks, but Elgort gives Tony the type of heartthrob charm that makes it easy to see why María falls so hard and fast for him. Elgort and Zegler have singing voices that are very good, but not particularly distinctive.
DeBose lights up every scene that she’s in and is the breakout star of the movie. Her version of Anita has a commanding presence and the flashiest dance movies. Debose’s larger-than-life portrayal of Anita is ideal for this type of splashy movie musical. Anita has a big personality, but she also has a more realistic view of life and love than starry-eyed María. And that’s why, for adults with enough life experience, Anita is a more relatable character than María.
Alvarez’s Bernardo has more machismo, as well as a little more emotional depth, than the Bernardo of the original “West Side Story” movie. Bernardo uses his arrogance to cover up his insecurities over feeling like he’s someone who’s “not good enough,” so he over-compensates. What he sees as being over-protective of María is really being over-controlling. What he sees as pride in being a Shark is really an endorsement of violent racism.
In the original “West Side Story,” Anita and Bernardo were an attractive couple, but you never got the impression that they had much romantic passion for each other. There’s more believable sexual heat with Anita and Bernardo in this “West Side Story” remake. DeBose and Alvarez seem to have natural chemistry with each other as Anita and Bernardo, who sees himself as the ultimate alpha male. Sex in the movie is hinted at but not explicitly shown. For example, Anita and Bernardo kiss passionately before slamming a bedroom door behind them; María and Tony wake up together half-dressed in bed.
As for the dazzling dance numbers, “West Side Story” movie remake choreographer Justin Peck brings his ballet background to the movie, with dance moves that are more complicated but a little more graceful, enhancing the stellar work by choreographer/director Robbins for the first “West Side Story” movie. DeBose is a standout in the dance scenes, which have a more sensuous and unbridled energy than the original “West Side Story” movie. (And that’s probably because depictions of sexuality in movies had more restrictions in movies released in 1961, compared to 2021.)
For the “West Side Story” remake, cinematographer Janusz Kaminski and production design make things look bigger and more over-the-top in scale. An overcast night can’t just be an overcast night. It looks like a fog-filled, full-moon scene out of a horror movie. A crumbling slum area can’t look like a crumbling slum area. It looks like a bombed-out war zone. It’s all very impressive, in terms of visuals.
And yet somehow, this more ambitious, bigger-budget version of “West Side Story” loses some of the neighborhood intimacy that the original “West Side Story” movie had. Everything looks professionally done in the remake, but just a little too staged and calculated. And maybe that’s because the movie was filmed and built on soundstages. (The “West Side Story” remake was filmed at Steiner Studios in Brooklyn.) Sometimes bigger isn’t always better.
The ending of the “West Side Story” remake doesn’t end as abruptly as the first “West Side Story” does. Without giving away too many details, it’s enough to say that the remake has a more melodramatic ending with some preachiness. It’s a revision that some “West Side Story” fans might like, while others won’t. This slightly new ending doesn’t take away from the overall spirit of “West Side Story,” which is a celebration of life and love, with the knowledge that both can be precious, fleeting and experienced with a lot of heartache.
20th Century Studios will release “West Side Story” in U.S. cinemas on December 10, 2021.
Culture Representation: Taking place in an unnamed city in California’s Los Angeles County, the dramatic film “The Fallout” features a racially diverse cast of characters (Latino, white and African American) representing the middle-class.
Culture Clash: After experiencing a devastating school shooting, a teenage girl, her schoolmates and her family have different ways of coping with this tragedy.
Culture Audience: “The Fallout” will appeal primarily to people who are interested in well-acted and realistically written dramas about how a mass murder has psychological effects on survivors, particularly young people.
There have been several documentaries about how survivors of school shootings in the U.S. are coping with these tragedies. “The Fallout” is a fictional drama, but the movie achieves a rare balancing act of handling this sensitive subject matter with realistic emotions and above-average acting. What makes the movie also stand out is that it’s not a non-stop barrage of depression. It’s able to convey, with occasional touches of levity, how life can go on for survivors, even if their lives will no longer be the same.
Written and directed by Megan Park, “The Fallout” had its world premiere at the 2021 South by Southwest (SXSW) Film Festival, where it won the top jury prize as the best movie in the narrative feature competition. Writer/director Park, who made her feature-film directorial debut with “The Fallout,” also won the 2021 SXSW Film Festival’s Brightcove Illumination Award, given to a filmmaker on the rise. Park previously directed music videos, such as Billie Eilish’s “Watch.” Eilish’s brother/musical collaborator Finneas O’Connell wrote “The Fallout” musical score.
The beginning of “The Fallout” gives the appearance of being a typical teenage story. The movie’s protagonist Vada Cavell (played by Jenna Ortega, in a standout performance) and her openly gay best friend Nick Feinstein (played by Will Ropp) are driving in Nick’s car to their high school. They live in an unnamed city in California’s Los Angeles County. (The movie was filmed in Los Angeles.)
Vada (pronounced “vay-da”) and Nick appear to be 16 or 17 years old, probably in their third year of high school. If they were in their last year of high school, movies like this would make a point of telling the audiences that these students are high-school seniors because Vada and her classmates would be talking about their plans after they graduate. All of the main characters in the movie come from stable, middle-class homes.
Vada and Nick have the type of comfortable rapport that best friends have with each other, where they discuss things they wouldn’t talk about with just anyone. In their conversation while going to school, Nick and Vada talk about drinking coffee, which leads to Vada mentioning that coffee gives her the urge to defecate. Vada and Nick laugh and say that they should have a code for that bodily function when they talk about it in front of other people.
When Vada and Nick arrive at school, it seems like it’s going to be a normal day. The biggest problem that Vada thinks she’ll have to deal with that day is how to comfort her younger sister Amelia (played by Lumi Pollack), who has texted Vada a “911” emergency alert while Vada is in one of her classrooms. Vada quickly excuses herself from class to go in the hallway and call back Amelia, who attends another school and appears to be about 13 years old. Amelia is hiding by herself in one of her school’s restrooms.
It turns out that Amelia called because she’s surprised and embarrassed that she got her first menstrual period while in school, and she’s confused about how to handle it. Vada mildly scolds Amelia for scaring Vada into thinking it was a real emergency. Vada calms Amelia down and gives her a “big sister pep talk” on what do next. And like any good older sister would do, Vada offers to take Amelia out for a meal after school, so they can talk some more about this milestone in Amelia’s physical growth toward womanhood.
Feeling satisfied that she handled the situation correctly, Vada then goes into the ladies’ restroom. She sees a fellow classmate named Mia Reed (played by Maddie Ziegler) doing her own makeup in the restroom mirror. Based on the way that Vada stares at Mia, Vada is slightly in awe of Mia, who has the look of an Instagram model and a reputation at school for being somewhat of a social media influencer. The other students talk about Mia as if she’s a mysterious and glamorous loner, who gives the impression that she’s more sophisticated than the average student in high school.
Mia comments to Vada: “Photo day,” to explain why she’s doing her makeup instead of being in class. Vada replies before she goes into a stall, “I’ve got to get my shit together.” It’s Vada’s way of saying that she thinks she should pay more attention to her own hair, makeup and wardrobe. When Vada comes out of the stall, she says to Mia as a compliment, “You don’t even need to wear makeup.” And that’s when they both hear gunshots.
During the next six minutes of terror, which are shown from the point of view of the students trapped in this restroom, viewers can hear that people in the school are being killed by a gun. There are screams and cries for help amid the gunshots. This violence is never shown on camera because it doesn’t need to be. It’s a massacre that has occurred all too-often in real life.
Vada and Mia hide in the same bathroom stall together and stand up on the toilet, in case the shooter comes in and looks for feet underneath the stalls. As Mia and Vada clutch each other in horror, someone bursts into the room in the stall next to them. At first, the girls think it’s the shooter, but it’s really a fellow classmate named Quinton Hasland (played by Niles Fitch), who quickly identifies himself.
Mia and Vada tell Quinton that he can hide with them in the same stall. The girls are shocked to see that Quinton’s clothes are covered in blood spatter. He tells them that he hasn’t been shot, but he’s panicking because he witnessed his brother getting shot. Quinton is understandably anguished over the decision to run for his life or stay behind to try to help his brother.
The movie doesn’t show how long Vada, Mia and Quinton were crouched in fear in the bathroom stall. Nor does “The Fallout” show what happened when the police and medical emergency teams arrived. A visual clue later in the movie indicates that eight people died in this massacre.
And “The Fallout” isn’t about what happened to the shooter and why he committed this heinous crime, except to indicate that he was a male student from the school. The shooter is never seen or heard in the movie, although his name is mentioned in one of the movie’s most emotionally powerful scenes. It’s implied that the shooter died at the scene, most likely by a self-inflicted gunshot wound.
The rest of the film is from Vada’s perspective about how Vada, Mia, Quinton, Nick and Vada’s immediate family (her parents and Amelia) deal with the aftermath of tragedy, including coping with survivor’s guilt. Vada goes into school-appointed counseling with an empathetic therapist named Anna (played by Shailene Woodley), who tries to break down the emotional walls that Vada puts up in their first few sessions together. Vada tries to persuade Anna that she’s doing as well as she can in her recovery.
In her first session with Anna, Vada talks about how she sleeps up to 14 hours a day, but insists (not very convincingly) to Anna that it’s only a few more hours of sleep per day that was part of her normal routine before the shooting. Vada gives this self-evaluation of her personality: “I feel like I’m very good at managing my emotions. I’m very low-key and chill.” Anna patiently advises without sounding judgmental: “It’s really good to show your emotions.”
Despite what Vada told Anna, there are signs that Vada isn’t coping well at all. When Vada is awake in bed, she shivers and twitches in fear. Her excessive sleeping is a sign of depression. And when her parents—Carlos (played by John Ortiz) and Patricia (played by Julie Bowen)—try to talk to Vada about what happened, she shuts them down and tells them that she’s going to be fine. Vada avoids her family by sleeping in her room as much as she can.
During family time together, such as during meals, Amelia talks as if nothing bad really happened, perhaps in a way to try to get things back to normal. But based on Vada’s angry reactions to Amelia’s nonchalant small talk, Vada is offended that Amelia acts oblivious to how this tragedy is affecting Vada. Although Vada doesn’t want to open up to her family about what she’s going through, she doesn’t want them to completely act as if the school shooting didn’t happen either.
Shortly after the massacre, Vada found out that the shooter (whom she didn’t know) had followed Vada on Instagram. It’s a small detail, but how Vada reacts when she finds out is indicative of how she doesn’t like to show many of her emotions on the surface. She expresses some surprise, but then is quick to add that she never knew the guy and never followed him on social media. Her response is to brush it off, but deep down, this information must be disturbing to her.
After the shooting, Mia and Vada begin texting each other and become each other’s confidants. Mia invites Vada over to her house (it’s here that it’s obvious that Mia’s family has more money than Vada’s family), and this invitation leads to Vada going to Mia’s place for regular visits. Both girls are afraid to go back to school, but Mia’s anxiety is more severe, since she tells Vada that she’s afraid to leave her bedroom. Because of Vada’s visits, Mia gets over that fear and the fear of leaving her house.
Mia’s gay fathers, who are successful artists, are away in Japan on business. Mia, who is an only child, keeps in touch with them by phone, but they are never shown in the house with Mia. It’s implied that they leave Mia alone a lot, which is why she’s more independent than most of her teenage peers. But it’s also made her lonely, and it explains why she quickly bonds with Vada. After the school shooting, Mia’s parents grant Mia’s request to not go back to the school and to be homeschooled instead.
Vada is intrigued by Mia because before they became friends, she had a perception of Mia of being somewhat of a “badass,” based on Mia’s dance videos that Vada watches on the Internet. The first time that Mia and Vada hang out together, Vada remarks that in real life, Mia is very different than what Vada expected: “In the videos, you come off as so hard.” Vada is pleasantly surprised at how nice and down-to-earth Mia is when interacting with her. When Vada expresses anxiety about going to the funeral of Quinton’s brother, Mia offers to go to the funeral with Vada.
Because of what they went through together during the school shooting, Mia and Vada feel like they can openly talk to each other about it. During one such conversation, it’s revealed that while Vada’s way of dealing with the trauma is excessive sleeping, Mia’s anxiety has resulted in insomnia. Vada asks Mia, “Did you have the craziest nightmares last night?” Mia replies, “You have to be able to sleep to have nightmares.”
Mia is seemingly more confident than Vada, but Mia has her insecurities too. Mia guzzles wine and liquor and she smokes marijuana to block out whatever emotional pain she’s experiencing. Vada gets caught up in drinking alcohol and smoking weed with Mia.
And there’s a memorable scene in the movie where Vada impulsively tries Ecstasy for the first time when she’s at school. While flying high on Ecstasy, she gets blue ink from a pen all over her face, and she has trouble navigating her way down a flight of stairs. It’s one of the few scenes in “The Fallout” that’s intended to be funny. “The Fallout” infuses this slapstick comedy into the story as a way to show that life after a school shooting isn’t all gloom and doom for the survivors.
However, the movie also authentically shows in a non-judgmental way that drug use is often a coping mechanism for trauma survivors. Not much is shown or discussed about what Mia’s drug/alcohol use was like before the school shooting. But there are definite references to Vada being a good student before the shooting. Her “good girl” image begins to tarnish after the shooting took place when her grades start to slip, and she shows signs of minor delinquency.
Despite her occasional acts of teenage rebellion, there are signs that Vada identifies more with nerd culture. Vada mentions in a therapy session with Anna is that she has a celebrity crush on actor Paul Dano, who usually plays soft-spoken, geeky characters. And in a conversation between Vada and Mia, they ask each other if they prefer Drake as a sex-symbol rapper or when he portrayed a basketball-star-turned-misfit-paraplegic teen in the TV series “Degrassi: The Next Generation.” Mia and Vada both agree they prefer the wheelchair “Degrassi” version of Drake.
Vada’s parents try to do the best that they can to help her cope with the shooting tragedy, but Vada tends to avoid them. Vada’s relationship with her mother Patricia has more tension (Vada describes Patricia as “uptight”) than the relationship that Vada has with her father Carlos. There are also hints that some of this tension is because Vada thinks that Patricia prefers Amelia over Vada.
There’s a scene in the movie that exemplifies this tension. Vada sees Patricia and Amelia joking around together in the kitchen. Amelia and Patricia don’t see Vada though. Vada looks sad and a little jealous as she observes them and then walks away.
And in an earlier scene, Patricia tells Vada: “All I want is what’s best for you. I want to see that sparkle back.” Vada looks insulted by that comment, and then tells Patricia, as a way to hurt her mother emotionally: “You know that Amelia got her period?” Patricia looks surprised and says, “When?” Vada than smugly replies, “Like forever ago. I guess she just didn’t want you to know.”
But Vada is keeping secrets too. She doesn’t tell her family about her friendship with Mia. And as Vada spends more time with Mia, they become closer in a way that indicates that their relationship will become more than a friendship. Vada also expresses a sexual attraction to Quinton. (This isn’t spoiler information because it’s in the movie’s trailer.)
Vada doesn’t define her sexuality in this movie, but at one point in the story, she describes herself as a socially awkward virgin, and she expresses some disdain at the thought of herself having a husband in the future. It’s interesting that the two people who are her possible love interests are also the ones who were hiding with her in the restroom during the school shooting. The movie leaves it open to interpretation if Vada showing a romantic attraction to them after the shooting was a direct result of this shared trauma or if she was already attracted to them anyway.
Meanwhile, Kevin and Vada start to become distant from each other. He’s aware that Vada is spending more time with Mia. But he’s become an anti-gun-violence activist (there are scenes of Kevin doing things that will remind people of the real-life David Hogg), while Vada avoids going to the activist rallies that Kevin now enthusiastically attends. Vada admits to Mia that she feels a little guilty over not doing more to speak out against gun violence. But the movie shows that, just like in real life, not every survivor of a gun shooting is going to become an activist.
Before Vada’s life was turned upside down, she was closest to Kevin, her sister Amelia, her father Carlos and her mother Patricia. After the shooting, the movie shows an emotionally resonant moment that Vada has with each of them, as she comes to terms with how she’s changed since the tragedy and how her relationship with each of them has changed. When Vada has a heart-to-heart talk with her father, she says something that rings true to anyone who’s survived a mass shooting: “I had no idea one guy with a gun could fuck up my life so hard in six minutes.”
What will stick with people who watch “The Fallout” is how the main characters in the story seem like they could be based on real people, thanks to writer/director Park’s terrific handling of this story and the superb acting by the cast members. It’s not an easy thing to do a coming-of-age drama about people affected by a school massacre. And the last five minutes of “The Fallout” is a harrowing example about how “getting back to normal” is something that’s hard to define and even harder to experience.
UPDATE: HBO Max will premiere “The Fallout” on January 27, 2022. Warner Bros. Pictures will release “The Fallout” in cinemas in countries where HBO Max is not available.