Ending a little vague and possibly disturbing considering this girl is 13, but I guess she grew up fast and life at home not great, so not going to judge.
Overall worth a watch if you like indie films and don't need it all spelt out for you.
The plot follows a young and naive girl from a small Nebraska town who leaves her dysfunctional family behind to try to make it in Las Vegas. Along the way she meets some colorful characters, almost all of them being the wrong kind of people.
This is the sort of brazen indie film I get drawn to once in a while, because it seems like it will be edgy, and definitely risk taking since it features such a young performer playing a character in the center of all kinds of messed up stuff, but unfortunately this one comes off as a dud.
I liked that it didn't get too over the top and sleazy, but what it gave up in that department, it made up for with a little too much meandering and boredom. The film isn't unwatchable, and the performances do show that people were trying, and there's some good needle drops, but even then, this film is just kinda blah.
There's lots of notable names, but many of them aren't given much to work with, and it makes me question their inclusion here. Also, while I don't mind it sometimes, there's really not much of a point to this movie, so it basically just becomes an exercise in seeing a young girl try to deal with crappy situations over and over for about 90 minutes, with no real lesson being learned.
The set up had potential, but I'll just chalk this one up to bad execution, and wish everyone involved the best of luck.
Not so great! I think that the script it's good but sometimes the movie can get tired because it has unnecessary scenes. Chloe did a fantastic job of acting, as usual. Her portrayal of a charming, street-smart yet semi-innocent teenage girl is visually and emotionally gripping. The film as a whole will probably not be up for any awards, especially given its indie status and almost obsolete promotion. I can't recommend that the average moviegoer check out this film, maybe not even the average Chloe Moretz fan. But if you're up for a road film centered on a young girl who learns to literally pull herself up by her bootstraps and survive countless things, from abandonment to rape to kidnapping and so on, it could be worth your time.
Smalltown teenager Luli (ChloŽ Grace Moretz) escapes to Las Vegas, leaving behind her alcoholic and abusive parents. Armed with her smarts, a pistol and pocket money, she hitchhikes her way west. Along the way, Luli crosses paths with Eddie (Eddie Redmayne), an unstable rebel with questionable motives and Glenda (Blake Lively), a cocaine-snorting drifter on the run. Adapted from the critically acclaimed novel by Andrea Portes, this powerful story pulls you into a provocative world of drugs, seduction and murder.
The premise itself, leaving home and the people you meet on the way, is enjoyable enough, but feels disjointed in the narrative, which doesn't seem to know what it wants to be. The film constantly calls back to other films, and apparently tries to embody them, but without a consistent tone. It's sometimes dramatic, quirky, 'romantic' (in quotes for a definite reason), and other times more introspective, but it never seems to really deliver on any of those elements. This is partly a symptom of the script, to be sure, which tries desperately to fit too many things in with far too many homages, and the direction, which feels unfocused.
The performances are also sporadic. Chloe Moretz is certainly charismatic and talented, but feels awkward and not properly directed in her role here. That she's matched with Eddie Redmayne, an actor with no discernible screen presence whatsoever, doesn't help. What was especially disappointing were the wasted roles of Alex Baldwin and Juliette Lewis, who got very little screen time.
For it's faults, Hick does aim for something higher than it ultimately delivers, and it deserves credit for that. It's themes do resonate on certain levels, and there's a number of good scenes to be had, and, at its heart, it's a good story. Unfortunately, however, it simply lacks any real polish.
The film has been criticised by some for boasting an ineffective and rather unfitting atmosphere of moderate surrealism, and really, outside of one brief throwaway scene in which ChloŽ Moretz's Luli McMullen character, for some reason, trips way out after one quick huff of nail polish, I have absolutely no idea what in the world these people are talking about, unless of course the reason why these people think that the film is surrealistic is because they've watched way too much Terrence Malick and automatically associate surrealism with dryness, as this film, with all of its promises of intensity, just ends up drying up within mere moments into its beginning, and rarely rehydrates from then on. That being said, the film ever so rarely, if ever descends as low as dull, though pick-up is certainly not much more prevalent, for although the film has its moments, on the whole, there's not a whole lot of spark in air, leaving the film to have plenty of moments where it loses you quite quickly amidst a consistent limpness, made worse by story structure that is almost as do-little. Ironic how this film is about drifers, because it itself is one drifter of a film, floating along its episodic storyline in a fashion that feels rather under-inspired, yet is never structurally uneven, as the story structure dynamicity and, to a certain degree, storytelling dynamicity are so limited that it's hard to feel all that much progression in the film, for although there is certainly some default degree of progression to be felt, there's not enough of it to keep the film from limping along, even on paper, with a major culprit behind this limpness being the film's often slapdashing through, if at all featuring climax in its segments and flesh-out in its segment transitions, which not only creates some plotholes, but leaves each segment to run together and render the film both repetitious and with little pick-up. Of course, just because a film's story structure goes rather lacking in dynamicity, that doesn't necessarily mean that it can't have tonal dynamicity, though this film stands as a bit of back-up to the theory that tonal dynamicity in a hardly structurally dynamic film is still actually pretty lacking. The film's tone rarely takes turns, yet when it does, it gives the film some livliness, though not a whole lot, not just because the atmospheric dryness tends to stay, but because the new tones rarely last, as the film hits its points where it could turn fairly intense, only to, partially with the help of the aforementioned plotholes, somewhat awkwardly make a perhaps too sudden return to less relatively lively tones and further dilute the film's consequential feel. Now, again, as much as it limps along and makes many a messy story move, the film is rarely all that dull and ultimately comes out hardly warranting weak reviews, let alone the panning its been getting, yet it just so rarely breaks out of somewhat bland, drifting along without making an impression, or at least not terribly deep impressions, until, by the end, with all of its high points, it just comes out as not much more than simply average. Still, as I said, the film has its high points, and quite a few to keep you going, for although the film is too average to be anything less or more than just average, it has a decent hit for every unfortunate miss.
Now, director Derick Martini hardly puts his all into this film, and were he to give it a bit more weight and quite a bit more intrigue, it probably would have squeaked through as genuinely good, yet as things stand, there's a certain charm within this film's workmanlike attitude, for although this film makes promises that it doesn't quite have the guts to deliver on, it lacks pretense and boasts a consistent, surprisingly rather striking charm about it, and that's just about the only reason why this film's dull spots are so scarce, if not nonexistent. This film's soundtrack certainly helps with that, for although tunes aren't much less scarce than dull spots, the film takes on a certain livliness and particular momentary entertainment value when it does kick on some classic tunes. Outside of the rarely used soundtrack and consistent charm, what keeps this film going is simply its subject matter, for although the film's concepts behind a primary plot about a young girl coming of age during her experiences with colorful, mature and potentially dangerous people go betrayed by their execution in both the scripting and directorial departments, they remain rather fascinating and create a certain default hint of intrigue that, when complimented by the relatively livlier occasions of storytelling, create the occasional moment that may not be too effective, yet remains reasonably effective enough to give this film a moment of weight and supplementation to the consistent moderate intrigue. The story structure's and storytelling's primarily relying upon the workmanlike standards of its aspects certainly adds to it the film's blandness, yet give it the charm and moderate intrigue needed to sustain your attention more often than, while the performers come in and further sustains your attention, for although there's very little for our performers to do, this is still a strong cast of talents who do a fine and reasonably engaging job of what they are asked to do, whether it be a quickly dismissed Juliette Lewis as the concerned mother and loveless wife or the somewhat underused Blake Lively as the initially, well, "lively" spirit plagued by the demons and bad intentions that crush her by the end and haunt her throughout. Of course, it's the leads who do the most to keep this film afloat, with Eddie Redmayne nailing not only the southern accent that he was born to play, what with his mug, but also both smooth charm and light yet still uneasingly pronounced disturbance in a fashion that keeps you reasonably compelled by the Eddie Kreezer character, yet also uncertain of when the character will hit dark depths and of just how hard he will hit, and when Kreezer does hit those dark depth, Redmayne delivers on enthralling emotional range and layers. As for leading lady ChloŽ Grace Moretz, with all of my going on and on about how it's rather discomforting seeing her physicality and still-developing maturity flaunted, even if it's not being flaunted all that much, it is pretty hard to deny that she is, in fact, quite attractive for her age, as she remains mature enough for the often discomforting situations that fall upon her to not so much come off as gratuitous, but actually rather realist, and it helps that Moretz sells these situation with a charismatic and confident presence that may be asked to play into such more advanced strokes of acting as emoting on only a few occasions (Occasions that Moretz do deliver on though, as expected, especially during the final couple of scenes that she, all but alone, makes genuinely powerful), yet remains consistent and assured enough for your investment in Moretz as a leading force to go earned quite firmly, thus exposing further potential within the young talent. The film stands to be better, and there's no getting around that, yet the film still ultimately stands as worth, well, at least my time, as it has enough workmanlike charm and restrained yet still impressive performances to make this film both generally engaging and ultimately rather enjoyable.
In conclusion, the film is a dry one that limps along in a bland fashion, made worse by storytelling and story structure of little dynamicity, occasional tonal unevenness and altogether limited bite, thus making for a film that's neither less or more than simply average, yet certainly more enjoyable that people say, boasting a consistent workmanlike charm and fair degree of default intrigue - spawned from the interesting subject matter - to battle back dullness, while a strong cast of either underused or underwritten, yet still rather impressive talents - the most impressive of which being leads Eddie Redmayne and ChloŽ Grace Moretz - earns further investment and helps in making "Hick" a generally enjoyable portrait on a budding young girl tossed into a mature and dangerous coming-of-age experience.
2.5/5 - Fair
The story in this one sucked. A girl is in a horrible situation and tries to get out, but doesn't really have a plan and ends up in a worse situation than what she left. This one dragged on a bit too much without going anywhere.