Criticlysm Reviews

OUtsiders (2021)

By Matthew Roe

Outsiders attempts a balance between science fiction, social commentary, and a coming-of-age drama, and genuinely accomplishes moments of sublimity that retain considerable power. However, the film is also bogged down by inconsistent plotlines, logical and tonal dissonance, and cosmetic character archetypes. In other words, I'm highly conflicted about how to appreciate this movie — Outsiders is at war with itself.

When Jaylen Brown (Skylan Brooks) moves with his mother Ramila (Rutina Wesley) and sister Simone (Diamond White) to a small southern town, it's clear immediately that they are the odd ones out — they're the only black family in the area. While enduring the local school's severely outdated ideas about the racial reality of the United States, while also being subject to the rumors and prejudices which constantly swirl about him, Jaylen tries to make the best of it. He goes to school, works at a local gas station, and engages in a budding relationship with his classmate Amira (Clark Backo). However, everything goes sideways when Amira vanishes inexplicably in a shaft of alien light, and Jaylen becomes the prime suspect in her disappearance.

“...it's clear immediately that they are the odd ones out — they're the only black family in the area.”

There is a lot to love here. The fabulous cinematography by Juan Sebastian Baron doesn't waste a solitary angle in the whole film, managing to keep the visuals engaging while largely maintaining tonal consistency (with some points really showcasing his extensive experience working on music videos). This visual flair is augmented by Adam Tyree's razor-sharp editing, which maintains each scene's taut pacing and concise visual language — there was never a time I was confused as to what was occurring on screen. The extensive hip-hop/rap soundtrack blends fairly well with the original musical score produced by the experimental trio, Blitz//Berlin. Even without the events on screen, the music manages to set my teeth on edge for what will be coming down the pipe, subsequently making my fear for what'll befall our protagonist that much more palpable. These elements, meshed with the believable on-screen performances by the majority of the cast, I also credit to the solid direction by Delmar Washington.

While certainly not a stranger to directing, Outsiders marks Washington's first foray into dramatic feature filmmaking, and he manages to wring quite a bit of emotional appeal out of his actors and his chosen genre elements (the on-screen chemistry managed between the actors is honestly impressive). However, while all of the aforementioned successes may lead you to believe that this film is a homerun on all fronts, the experience is undone by the frustratingly shallow screenplay. Penned by newcomer Tucker Morgan, Outsiders relies far too heavily on easy plot contrivances, constant coincidences, underdeveloped characters, and underbaked worldbuilding. It introduces plot threads — such as the familial drama with Jaylen's step father and his aunt (Taryn Manning), with whom they are currently staying — and then either wraps them up through convenience to get Jaylen to the next set piece, or they are left hanging in the wind with little to no resolution.

“There is a lot to love here.”

For example, an instance where Jaylen gets busted for cigarettes in school by Sheriff O'Hare (Shane West) is one of the worst moments. It is obvious by a country mile that the scene only exists to build up superficial animosity between the two, and to plant a glaring seed for some revelations later in the plot. This scene isn't inherently weak, but Jaylen pulling out his cigarettes and drawing one from the pack while still walking down the middle of the school hallway, literally answering an intercom call for him to go to the principal's office, just defies basic logic. Maybe if Jaylen decided to skip his meeting with the principal, electing to spend the time smoking behind one of the school buildings, thus caught by O'Hare as he arrives on campus, it would compound Jaylen's outsider status with these authority figures while also showcasing the contempt between them is mutual, though for obviously different reasons. As much as I hate to say it, there were many times throughout the film where I felt the story was little more than another Get Out clone, and offered a considerably less nuanced perspective.

I wanted to enjoy Outsiders more than I did. So many of the technical elements are well-crafted and consistently homogenized with one another, while also boasting a truly impressive range of talent. But it soon becomes apparent that the story — though its foundations are sound and intriguing — relies too heavily on overtired genre cliches and platitudes while offering little to move the conversation. There is a moment in the movie where Jaylen's class is watching an outdated film reel, narrated by an old white man (Bob Bancroft) declaring segregation to be a "good" thing — something delivered in a manner which makes the scene appear outright farcical, despite the visual tone suggesting we're supposed to be taking this moment seriously. The only thing I could think of during and after this scene is how well crafted Kevin Willmott's 2004 mockumentary, C.S.A.: The Confederate States of America was — and it's never good to spend more time thinking about an old movie while watching a new one, than on what is actually happening on screen.

Outsiders is absolutely worth watching. But, for me, it's really only to catalog the names of those involved, so that I can watch their careers continue with bated breath.

★★½ / ☆☆☆☆☆