Backspot
[info headline="Release date"]7 December 2018[/info]
[info headline="Language"]English, Vietnam[/info]
[info headline="IMDb Rating"]7.4[/info]
[info headline="Genre"]Horror, Fantasy, Science Fiction[/info]
[info headline="Cast"]Jason Momoa, Amber Heard, Patrick Wilson[/info]
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“Backspot” does for competitive cheerleading what “The
Novice” did for rowing: It depicts the pursuit of athletic excellence to the
point of obsession through a specifically queer lens. Both sports may look
refined on the outside, but they require grueling effort and intense
dedication. And for us as viewers, they offer an intimate glimpse into an elite
world we can admire without driving our bodies to the breaking point.
Non-binary director D.W. Waterson clearly appreciates what
these young female athletes can do – and make no mistake, they are athletes –
while also examining the inherent contradictions of their sport. These
teenagers must be pretty and powerful, sparkly yet steely, feminine yet
muscular. Waterson announces this contrast early with an opening sequence from
the point of view of a cheerleader performing a series of back handsprings
across the floor. From inside this tumbling pass, it’s dizzying, but the tumbler
herself is in complete control.
No one is more preoccupied with control on this team than
Riley, whose position gives the film its title. The backspot is both the leader
and anchor for all those elaborate stunts: She’s the one on the ground who
ensures the tiny girls land safely after twisting and flying to the sky.
Similarly, Devery Jacobs serves as the sturdy base of this movie, even as her
character is going through some emotional acrobatics of her own. The
“Reservation Dogs” and “Echo” actress presents a facade of unstoppable ambition,
while insecurity and anxiety roil underneath.
When Riley, her girlfriend, Amanda (Kudakwashe Rutendo), and
their mutual best friend, Rachel (Noa DiBerto), get the opportunity to cheer
for the more prestigious Thunder Hawks squad in their Canadian neighborhood,
they jump at it, both literally and figuratively. The team’s leader is the
exacting Eileen, played deliciously by a withering Evan Rachel Wood. Thomas
Antony Olajide gets some choice one-liners as Eileen’s supercilious second in
command, who will only allow himself to show so much sympathy: “Don’t call me
sir, I’m 32, that hurts my feelings,” he warns the newbies.
you’ll find little of the knowingly playful behavior you’d
see in a movie like “Bring It On.” This is deadly serious business, where
anything short of absolute victory is considered a failure. That pressure
heightens whatever instincts already existed in these girls, for better and for
worse. Glimpses into their home lives are efficient and revealing: Riley’s
emotionally distant mom (Shannyn Sossamon) maintains a tidy, modern kitchen,
and her dad is constantly absent. No wonder she seeks the approval of her icy
coach. Meanwhile, the more level-headed Amanda lives in a cramped,
working-class home that’s abuzz with kids and laughter. The reckless party girl
Rachel serves as an amusing counterpoint to the two of them, and DiBerto’s
lively performance offers welcome comic relief within this toxic
environment.
But Joanne Sarazen's script lacks characterization
elsewhere. Do these girls go to high school or do anything but eat, sleep, and
cheer? Maybe that’s the point, though, as a montage of actual blood, sweat, and
tears suggests: This is their entire life. And Waterson, as the film’s editor,
relies too heavily on the image of Riley plucking out her eyebrow hairs, one by
one, in extreme close-ups to indicate her manic inner state. On the other end
of the spectrum, though, they present a spectacular finale: a long, single take
as the Thunder Hawks finally perform their routine on the competition stage,
shiny smiles on their faces and glittery bows atop their heads. The fact that
Jacobs and her co-stars must act while being acrobatic makes the performances
even more impressive.
The final moments of “Backspot” will probably frustrate
viewers who want to see their characters learn affirming lessons and evolve in
positive ways. But as a realistic portrayal of an all-consuming drive, it
sticks the landing.
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