by Sam Juliano
The central conceit in newcomer Justin Tripping’s visceral Kicks hearkens back to one of world cinema’s most venerated classics. Vittorio DeSica’s 1948 neo-realist Bicycle Thieves spent nearly its entire running time on the wrenching pursuit of a stolen bicycle that represents economic survival at a time of war ravaged economic impoverishment. The final twist in the Italian film was meant to imply that desperation reeks violation of the very tenets of fair play that launched what initially seemed like a hopeless search. In Kicks the theft of a handsome pair of Nike Air Jordan sneakers doesn’t remotely change the survival dynamic, but it is a generational concern that can’t be solved by moving on – these S.E. Hinton types are born and bread on violence and confrontation, and an eye for an eye, tooth for a tooth is the prevailing mindset. Tripping’s film, which recalls Francis Ford Coppola’s Hinton adaptation of Rumble Fish is saturated in style, symbols and a lyrical bent, often leaving the narrative without direction or logical development. This borrowing from Peter to pay Paul might sink most other films in wallowing self-absorption, yet Kicks works by embracing a Terrence Malick school of film making, understanding that film is a visual medium that doesn’t always have to stay abreast of script and narrative logistics. To be sure Tripping’s work is often undisciplined and experimental, but it is simultaneously gripping and suggestive. And like all memorable coming of age films it boasts a magnetic lead character, which in this film yields an electrifying performance.
Brandon (Jahking Guillory) goes after seemingly unattainable objects through relentless ambition, and within his narrow perspective the sneakers mean everything. Small and physically compromised against his macho friends and enemies he makes up for this unbalance with running speed, which more than once allows him to escape serious harm. His friends, the stoner Rico and the wannabe singer Albert aren’t the most helpful comrades for Brandon’s cause, and some of their antics are nakedly comedic. Brandon comes upon the Nikes through black market opportunity, and initially sports his treasured acquisitions much like a young kid first riding a new bicycle. Curving and gliding he makes the most of his normally taken for granted acquisition, and Tripping fuels his tone poem with rap music, slow motion and voice over narration. Brandon is often followed by a astronaut, a Greek Chorus motif that seems to offer assurance that the young boy is being protected. The security though can only go so far and this apparition cinematically telegraphs violence and bloodletting. It isn’t an altogether successful device, but it is different and in tune with the auspicious film making style
Young Guillory anchors the film emotionally, and the danger he faces is the most unnerving aspect of the film. Inevitably, when the sneakers are stolen, we know the film will be going into reclaiming mode, and en route there are some startlingly violent sequences when the gangs confront each other. Tripping temporarily abandons his central focus to chronicle the dangers of everyday life in this drug ridden social milieu (the locale is the Bay region in California) to give the film not only a degree of dramatic heft that properly accentuates the matter at hand, but to illustrate how much is always at stake in a place where death can intrude at any time through a number of portals. Cinematographer Michael Ragen’s widescreen images successfully maintain the film’s harrowing realism with well-orchestrated metaphysical imaginings.
Though Guillory barely escapes with his life, in the end there is a transformative implication that obsession is a lethal affliction, will set in motion the most terrible of consequences. Kicks is a gritty, searing work that is content to leave some questions unanswered by opting to examine a nightmarish place strictly in the terms of the art it expresses. As such it is an essential Tribeca offering.
‘Kicks,’ which has played three times so fat at Tribeca will also screen on April 19th at the Regal Cinemas downtown at 6:15 P.M.. It may also gain additional showings if it wins either audience of jury awards to be announced on Sunday, April 24th.
Sam, it’s great that you’re back at Tribeca this year. It’s also very nice to see that you’re reporting on some of the highlights. I’m constantly curious when it comes to film. I appreciate your efforts in covering this event and sharing it with the rest of us.
Duane, I can’t tell you how much I appreciate those words, though to say you have provided this site incredible support is the classic understatement. To be sure Tribeca has emerged as a formidable festival in the fourteenth year of its operation, and more and more films from it are finding commercial release. This year I decided to go a different route, offering up capsule review highlights, and again I thank you for all my friend!
This one sounds like a must see. The theme of searching for something vital to one’s existence or personal identity is a lasting one. It can and will be relevant in any place at any time. Tremendous review Sam!
It is indeed a must-see Frank, and the observations you make there are dead-on! Thanks as ever for the kind words.
Sam, do you have any plans to see (or have you already seen) “Elvis and Nixon” and “Ticking Giants”? i have reason to think these are two big winners in the festival based on what I’ve read. Of course both should be landing commercial releases.
“Kicks” looks terrific, and you’ve assessed it masterfully. I have to agree with Duane Porter in that it is a treat to have you reviewing some of the festival’s offerings in this fashion. Looking ahead to more!
Ha Peter, I do indeed have plans to see both, and ironically they are set for this evening along with YOUTH IN OREGON and CHILDREN OF THE MOUNTAINS. Yes both films you note have indeed received strong notices. Thanks so very much for the kind words my friend!
Your excellent review reminds me of the South American film City of God, though Kicks isn’t as extreme.
Ricky, many thanks. I can see why you’d make that comparison absolutely, but yeah CITY OF GOD is far more fatalistic.
glad you liked Kicks as much as I did! trying to decide on one last movie to see today..between Dean, Perfect Strangers and Little Boxes. Any input?
Ariela, thank so much! Well I wouldn’t select Perfect Strangers of those, and I believe Dean will get middling reviews when released commercially. Some are already calling it a GARDEN STATE rip-off.
LITTLE BOXES is unquestionably one of the very best films of the festival. I really loved it, and I promise you will too!
Thanks so much Sam in helping me make my decision! 🙂 much appreciated!
Sam!
I have free tickets for both Adult Life Skills and Dean, practically at the same time..which should I pick?? thanks in advance 🙂
Dean!!