Red Rocket (dir. Sean Baker), 2021

An exploration of the underclass of the southern United States, Red Rocket may have been better served trimming much of its transparent and fatty attempts for rawness, which often come at the expense of the actual meat of the story. However, once former porn star turned drug dealer Mikey Saber begins to immorally court underage donut-clerk Strawberry, the film begins to wade in and out of engaging authenticity. Sean Baker, unfortunately, doesn't possess craft as writer or director to make the film as fully-realized as it appears it could ultimately have been.

Living on the couch, then bed, of his estranged ex-wife (and much to the chagrin of her mother), Mikey Saber has fled his successful Hollywood porn career to return to his small Texas town. Unable to apply for benefits, and equally unable to get a local job, Mikey falls back into his old-time career of selling drugs for local-dealer Leondria. As only a troubled lead can in an indie film, when all appears to be going well, Mikey forgoes a burgeoning relationship with his age-appropriate ex-wife in pursuit of Strawberry, being sure to wreck several lives in the process, including his own.

The primary faults with Red Rocket lay with Baker, as his over- and under-direction is evident throughout the film. Yet, when he finds that perfect balance there is an authenticity and, oddly, warmness that feels almost cruel. Why? Because Baker can never maintain these moments long enough to carry the film. In fact, the beginning is so drawn out that it sets the entire film off on unbalanced footing, which it only regains for the central arc, before teetering onto such unevenness by the end. And, yes, this unevenness extends to the acting, as Simon Rex and ex-wife Bree Elrod both shine and underwhelm dependent on the scene while Suzanna Son, as Strawberry, is probably the best of the cast (and perhaps her contributions are why the central arc works).

In the end, Red Rocket is a frustrating piece of cinema as it could have worked so much better than Sean Baker had allowed, despite the fleeting moments of authenticity being a joy to experience.

Rating: 6/10