You see, the title refers to the characters, and the central relationship. It's a name derived from a common colloquial metaphor, used to describe something terrible, or a total disaster! This is, in fact, an important reflection, because there are "dark comedies," and then there are movies where cleverness and humor are all but subsumed by writing that's breathtakingly awful, ugly, despicable, and unsympathetic, inspiring revulsion and disbelief instead of excitement or delight. It's not just that 'Trash fire' is wry and deadpan, but that conflicted Isabel and mistreated Pearl are tend to be the most "ordinary" and relatable that the movie gets. They are the only (relatively) consistent points of light surrounded on almost all sides by horrid dialogue that practically scorches one's ears; repugnant characters representing repellent worldviews of oppression, prejudice, cruelty, and abuse, or at least profound ignorance, delusion, or emotional disturbance; and scene writing and otherwise storytelling that evoke horror for the abject ruthlessness and barbarism of these qualities as much as for the discrete genre elements that are gradually introduced. Why, the picture careens like a ricocheting cannonball from one emphatic flashpoint of nastiness to another: first, with the very idea that Isabel and Owen could possibly be together in the first place; second, with the reveal of the family Owen has been keeping secret; and lastly, with the flavors we're most accustomed to seeing when the "horror" label" is attached. Yikes.
In fairness, one of these characters is given an actual arc after a fashion and demonstrates a measure of growth that makes at least one facet of the feature more palatable as the length draws on. This is also rather significant in that, in time, it helps the whole to feel more balanced, which definitely isn't the case from the outset, and along the way it becomes more earnestly enjoyable. Still, whatever else is true of 'Trash fire,' it undeniably carries a fierce bite, and thankfully the name does not also reflect the quality of the viewing experience. While it takes its time to meaningfully move forward and begin proving its worth, filmmaker Richard Bates Jr has crafted a fantastic, sharp little slice of cinema that leaves a mark. Odious as many aspects of the writing are, Bates' screenplay distinctly makes an impression; the characters and their relationships may be twisted to great extremes, but real, noteworthy themes and ideas are at play underneath the major unpleasantness. Nothing here is a lightning bolt of brilliance, and there are perhaps shades of familiarity and Bates' influences, but every scene in turn and the narrative at large are striking and engaging, not to mention ultimately entertaining and satisfying. I'm actually especially pleased with his direction, maintaining the cutting edge throughout these ninety minutes, and I'm particularly chuffed with how conversations between characters are often depicted. Scenes of dialogue with multiple characters, or that are defined as well by action or some overarching vibe, tend to bear a wide shot, but not least when just a couple characters are involved, Bates instead cuts back and forth to one and then the other, with the actors looking directly into the camera in turn. That's an unconventional method that could easily come off as amateurish or choppy, spotlighting the contrivance, yet with just the right touch it can be useful; here it serves to accentuate the strife underlying these conversations, and the overall confrontational tone.
This is hardly to say that the film is perfect, even if we set aside subjective reactions to the pervasive if shifting foulness. Pearl feels underwritten, defined almost entirely by two traits (one thing she likes, and one thing doesn't) that come into play only sparsely, in ways that are all too precise, and which therefore come off as inorganic in storytelling terms as they weakly serve the needs of the plot. It's no spoiler to say that there's a note of manipulation surrounding Owen, impacting everything about the plot, that's also underutilized; it adds an unspoken layer of horror for the audience when all is said and done, but which could have been even more impactful if it had been brought forth as a revelation in other ways before the ending rolls around. And there are also instances of what really come across as Movie Magic, of characters' intelligence just suddenly dropping to Zero - discarding rudimentary judgment, perception, or memories and experience from their skill sets - that regrettably knock one's favor down a peg in and of themselves for how they jar us from our suspension of disbelief. Nonetheless it's to Bates' credit, and those of all others on hand, that 'Trash fire' remains as much of a good time as it is, and as worthwhile. It should certainly be said that the cast are unquestionably having a blast, not least Fionnula Flanagan bringing intense energy to the grandmother who is so jaw-dropping in the worst and most delicious of ways. AnnaLynne McCord doesn't get as much time on-screen, but when she does show up she shines with complex personality as tormented Pearl. Angela Trimbur is a welcome anchor as Isabel, (mostly) readily eliciting our sympathy, and illustrating the range and poise that shows she has the chops for any role; Adrian Grenier ably navigates the space he's given as Owen, helping with all his skill as an actor to give shape to a complicated character.
In all other regards this is admirably well made, including outstanding effects, and terrific special makeup for McCord. For that matter the hair and makeup generally, and costume design, are just swell, not to mention the production design. And Yvonne Valdez's editing is notably shrewd, not least where it specifically comes into play. Overall I very much do like this picture, as it happens. It definitely doesn't make a good first impression, though, as it gives us one whopper of a line or scene after another right out of the gate, and only piece by piece does it become fun as the entirety begins to gel over time. And again, I quite think that with some tweaks to the screenplay, addressing the troubled spots I discern, the end result would have undoubtedly benefited. In any event, it's much smarter and more well done than not, even as it rather (deliberately) leaves a rotten taste in our mouths, and though it's not an outright must-see, I think 'Trash fire' earns a solid recommendation for genre fans who are receptive to titles a bit more off the beaten track. Maybe suggested most for those who are fans of the cast, this 2016 movie is an acquired taste, but it pulls no punches and is worth checking out if you can abide the viciousness.
In fairness, one of these characters is given an actual arc after a fashion and demonstrates a measure of growth that makes at least one facet of the feature more palatable as the length draws on. This is also rather significant in that, in time, it helps the whole to feel more balanced, which definitely isn't the case from the outset, and along the way it becomes more earnestly enjoyable. Still, whatever else is true of 'Trash fire,' it undeniably carries a fierce bite, and thankfully the name does not also reflect the quality of the viewing experience. While it takes its time to meaningfully move forward and begin proving its worth, filmmaker Richard Bates Jr has crafted a fantastic, sharp little slice of cinema that leaves a mark. Odious as many aspects of the writing are, Bates' screenplay distinctly makes an impression; the characters and their relationships may be twisted to great extremes, but real, noteworthy themes and ideas are at play underneath the major unpleasantness. Nothing here is a lightning bolt of brilliance, and there are perhaps shades of familiarity and Bates' influences, but every scene in turn and the narrative at large are striking and engaging, not to mention ultimately entertaining and satisfying. I'm actually especially pleased with his direction, maintaining the cutting edge throughout these ninety minutes, and I'm particularly chuffed with how conversations between characters are often depicted. Scenes of dialogue with multiple characters, or that are defined as well by action or some overarching vibe, tend to bear a wide shot, but not least when just a couple characters are involved, Bates instead cuts back and forth to one and then the other, with the actors looking directly into the camera in turn. That's an unconventional method that could easily come off as amateurish or choppy, spotlighting the contrivance, yet with just the right touch it can be useful; here it serves to accentuate the strife underlying these conversations, and the overall confrontational tone.
This is hardly to say that the film is perfect, even if we set aside subjective reactions to the pervasive if shifting foulness. Pearl feels underwritten, defined almost entirely by two traits (one thing she likes, and one thing doesn't) that come into play only sparsely, in ways that are all too precise, and which therefore come off as inorganic in storytelling terms as they weakly serve the needs of the plot. It's no spoiler to say that there's a note of manipulation surrounding Owen, impacting everything about the plot, that's also underutilized; it adds an unspoken layer of horror for the audience when all is said and done, but which could have been even more impactful if it had been brought forth as a revelation in other ways before the ending rolls around. And there are also instances of what really come across as Movie Magic, of characters' intelligence just suddenly dropping to Zero - discarding rudimentary judgment, perception, or memories and experience from their skill sets - that regrettably knock one's favor down a peg in and of themselves for how they jar us from our suspension of disbelief. Nonetheless it's to Bates' credit, and those of all others on hand, that 'Trash fire' remains as much of a good time as it is, and as worthwhile. It should certainly be said that the cast are unquestionably having a blast, not least Fionnula Flanagan bringing intense energy to the grandmother who is so jaw-dropping in the worst and most delicious of ways. AnnaLynne McCord doesn't get as much time on-screen, but when she does show up she shines with complex personality as tormented Pearl. Angela Trimbur is a welcome anchor as Isabel, (mostly) readily eliciting our sympathy, and illustrating the range and poise that shows she has the chops for any role; Adrian Grenier ably navigates the space he's given as Owen, helping with all his skill as an actor to give shape to a complicated character.
In all other regards this is admirably well made, including outstanding effects, and terrific special makeup for McCord. For that matter the hair and makeup generally, and costume design, are just swell, not to mention the production design. And Yvonne Valdez's editing is notably shrewd, not least where it specifically comes into play. Overall I very much do like this picture, as it happens. It definitely doesn't make a good first impression, though, as it gives us one whopper of a line or scene after another right out of the gate, and only piece by piece does it become fun as the entirety begins to gel over time. And again, I quite think that with some tweaks to the screenplay, addressing the troubled spots I discern, the end result would have undoubtedly benefited. In any event, it's much smarter and more well done than not, even as it rather (deliberately) leaves a rotten taste in our mouths, and though it's not an outright must-see, I think 'Trash fire' earns a solid recommendation for genre fans who are receptive to titles a bit more off the beaten track. Maybe suggested most for those who are fans of the cast, this 2016 movie is an acquired taste, but it pulls no punches and is worth checking out if you can abide the viciousness.