Safelight

And no light!

Nowhere in the movie do you see a lighthouse at night with it's light on. The lighthouse light is a warning, a guide, for the seafarer to keep the ship safe. So what's with the name? The movie should have been titled "Lighthouse" because that's where Charles & Viki felt safe during the day. At night it was back to being the solo truck stop hooker for her and store stock boy for him and dealing with the local thugs and her crazy pimp.

Why did Juno Temple do this part? Why did she appear in this flick? She is Juno Temple and this role is beneath her talents and she looked like she knew it. Her role is lifeless as Viki, Evan Peters is lifeless as Charles, and Skid (the pimp character) is more a demon possessed clown, than a mean tough guy.

And to top it off, suddenly the story ends. I didn't get it.

This indie drama won't appeal to everyone, but I found it to be a decent watch, buoyed by quite the believable acting. Evan Peters is excellent in his portrayal of Charles, a shy 17-year-old aspiring photographer, who's had a physical disability since birth and thus walks with a decided limp. The underrated and talented actress Juno Temple co-stars as Vicki, a sexy 18-year-old hooker, operating out of a truck stop and motel, adjacent to the convenience store where Charles works.

They have both had most difficult upbringings, and although seemingly far-fetched, a friendship and even a possible relationship develops between the two teens. Their bonding is heightened when Vicki helps Charles take photos of lighthouses along the California coastline for a school project, and I thought the chemistry between the two worked well.

As mentioned, the supporting cast here is quite solid, with Christine Lahti playing Peg, a tough-talking and vibrant woman, who manages the store where Charles works and is a constant source of encouragement to him. Additionally, Kevin Alejandro is certainly believable as Vicki's "psycho" pimp Skid, and Kevin Beghe adds well to the mix as Eric, Charles' supportive but ailing father.

All in all, this movie, written and directed by Tony Aloupis, can seem incredulous at times, but, as mentioned, buoyed by solid acting, kept my interest and I felt it was a decent watch. I must add that I wasn't thrilled with the ending here, as it seemed abrupt and, I thought, left some key plot elements unexplained.

One of indie films about life. as confession. family, friendship, solitude, love and hate. from an indefine period, using a simple story and good actors, not giving too much explanations and proposing individual drama of two young people in atmosphere of desert. nothing new, off course. because, it is the sort of film who could be significant only if has the chance to connect with the memories, experences of the viewer. if not, it is just a dusty story, with metaphors, a poor girl and a poor boy and Christine Lahti doing a good job. but the film deserves attention. not for originality. but for the status of testimony about few basic traits of humankind. like each indie film.

There is no official indication that this is a movie set in some "retro" period, but I think it is. I'm not sure why. Perhaps to emphasize the physical and cultural isolation of the setting.

The clothes and cars seem old and there are no computers.

The two kids are outsiders for different reasons. But their status as outsiders brings them together. I don't think there was any narration until the last minute. That's always really awkward, although in this case the lines spoken by the narrator, who is obviously the male lead, are simple yet profound. He says that sometimes people come into your life who open up new perspectives or possibilities. Or something along those lines. That's really what the movie was about.

It's dark, so if you are prone to being depressed by dark films, you may want to avoid it. Yet it's different than the dystopian cynicism of a lot of mainstream films, reality shows, and comedy. Because there is "light" in it. The Christine Lahti character never lets the kid down. She is always there for him.

I did not understand the back story on the girl. They should have tried harder to make that clear. Did she get abused by a step dad? Of course the drives from the desert to the lighthouses made no geographical sense, but viewers outside California may not realize that. I suppose it's OK, because we sometimes allow for such things in order for a movie to get its' point across and entertain us. There are no lighthouses close by any deserts. You would have to travel a long, long way to find any on the coast. It wouldn't be a casual road trip either.

There is no explanation for how the boy became a gimp. I guess they didn't want to focus on that, since the limp was just a metaphor for being an outside or a pariah.

Although the conclusion was depressing and inevitable, they avoided showing gore by literally not filming it. There is no sex or hardcore violence in this picture. I really appreciated that.

The music is not much to speak of. There were a couple unmemorable indie tunes, but original. I am so glad they didn't use some clichéd soundtrack.

This is a slow moving character-driven piece that does not attempt to slam you over the head with a message. It's also a lot less cynical than the average modern indie.

I have no idea who the girl is. She was OK and the boy did an adequate job. He was supposed to be an innocent kid and he portrayed that adequately. Lahti was good, although her character was not an original one. The kind-hearted country western divorcée has been done before.

It's speaks about underdogs, and for that it's a different voice film. It also has some beautiful and thoughtful frames. I think there's a hole intention behind it, I like it.