★★★½
Sabrina Greco makes her directorial debut with Lockjaw, a comedic drama that takes a step back for an insightful look at relationships, friendship and the chaotic years of young adulthood.
After a horrible car accident, Raina has her jaw wired shut and her entire life restricted.
Greco, who writes and directs the film, has a clear idea of the story she wants to tell, although the execution falls short.
The opening feels as if there are a few scenes missing from the first act that would explore and explain the dynamics of the relationships—or lack thereof.
Opening briefly before the accident without any real introductions, there is little to go on and even less explained. The film doesn’t introduce the characters or lay down the foundation of the backstory that dictates the film’s narrative, merely setting up its premise.
“The film doesn’t introduce the characters or lay down the foundation of the backstory that dictates the film’s narrative, merely setting up its premise.”
This leaves the dynamics and characters’ interactions uncertain, causing mixed signals regarding intentions and boundaries—an issue the film doesn’t address until the third act.
It makes Raina’s character arc less impactful and meaningful. The undeclared role of Mitch leaves her actions seeming reasonable and less villainous, even if they are self-destructive.
Colin Burgess’s performance as Mitch is underwhelming and lacks luster, which I believe hinders the dynamic and character arc lingering under the surface.
Robert, the magician, who is introduced toward the end of the first act, is a character who, on paper, shouldn’t work. Made out to be the sleazy antagonist, he comes off as more likable and intriguing, given Nick Corirossi’s charismatic performance and the enthusiasm he brings to the role.
Robert is clearly meant to fill the antagonist role, yet the performance and construction of the character make him less villainous and more critical to Raina’s arc, playing off her character unexpectedly well.
It offers an unexpected twist to the storyline, like Spike in Buffy the Vampire Slayer.
Greco crafts an insightful opening, setting the tone through the cinematography.
The film opens loose, with handheld shots, offering an undertone of freedom and invincibility—the core essence of young adults in their twenties.
“The film opens loose, with handheld shots, offering an undertone of freedom and invincibility—the core essence of young adults in their twenties.”
The cinematography quickly changes style after the opening, becoming tight, uniform and, at times, even claustrophobic due to the restraint.
It offers a unique perspective on the character’s journey, one that is vague yet telling.
Neal Wynne brings Greco’s vision and story to life by executing her ideas through visual storytelling.
The shots are captured well within the frame but never feel overly polished, adding to the tone and embodiment of the film.
Will August Park’s score is unusual at times, yet works well throughout the film, especially during its more peculiar moments.
The performances are unbalanced. While some are underwhelming and don’t quite land, others thrive, with most ultimately succeeding.
Blu Hunt absolutely kills it. Her performance as Raina is the highlight of the film, bringing new light to the idea of the damaged dream girl.
“Blu Hunt absolutely kills it. Her performance as Raina is the highlight of the film, bringing new light to the idea of the damaged dream girl.”
Raina isn’t a terrible person. She’s a deeply flawed person who doesn’t always recognize—or perhaps doesn’t prioritize—the collateral damage created by pursuing what she wants.
Hunt brings a grounded, real and raw performance to the table, crafting Raina as a flawed yet desirable character who hasn’t quite figured it all out yet.
Nick Corirossi’s performance as Robert offers the perfect counter to Hunt. Not only does he match her character’s energy, but he does so in a counteracting way.
The charisma he brings to the role and the way he embodies the character come across as balanced and real, allowing Raina’s flaws to feel grounded and validated. This is especially true toward the end of the third act, during one of the last scenes they share together.
While the film has some issues with establishing the characters in the beginning and clarifying the dynamics and subplot lines, Lockjaw ultimately finds its footing through Greco’s underlying ideas and Hunt’s raw performance.
There is a messy authenticity to the film that works in its favor. Much like Raina herself, Lockjaw is flawed, chaotic and still trying to figure itself out. Yet underneath those imperfections is an insightful look at relationships, friendship and the selfishness that can come with young adulthood.
Greco may not stick every landing with her directorial debut, but she establishes a distinct voice and creates a character in Raina who is difficult to define, easy to criticize and even easier to understand.
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