Marshall and the Movies

“Look into my eyes so you know what it’s like, to live a life not knowing what a normal life’s like,” raps Keith Stanfield as Marcus in “Short Term 12.”  The musical moment occurs early on in the film, so the mood of momentarily subdued hopelessness is well established.  But his vulnerable profession of pain still feels like it comes out of nowhere, blindsiding us and leaving an aching bruise on our heart.

Writer/director Destin Cretton derived the film from his own experiences working in a home for troubled teens, so the scenes portraying the residents of the short term living facility are the most vividly realized.  They possess a potent, palpable authenticity that is rare to encounter outside of documentary film.  The kids do not come across as characters wandering around inside a story – they feel like people who happened to step in front of the lens.

“Short Term 12” would be a compelling enough film had it just focused on the backstories of the teenagers and what led them to the home, but that does not exactly lend itself handily to the narrative form.  Thus, to tie all the elements together, Cretton introduces Brie Larson as the home’s supervisor, Grace, into the script.

Larson is phenomenal in the role, bringing equal parts heart and grit to the table.  But the problem is, the rest of “Short Term 12” just lies on an entirely different level as her.  Everyone else appears to be inhabiting and living; Larson, unavoidably, always has to act.  They are authentic, while she is honest – two modes that are closely related but not quite synonymous.

Cretton writes the stories of the kids so well that the contrived, heavily plotted nature of Grace’s narrative arc stands out starkly.  Things happen to her that move life forwards in a clear direction, like developments in her relationship with fellow home worker Mason (John Gallagher, Jr.), an unplanned pregnancy, and the impending release of her father from jail.  For everyone else, every day is just another day.  Life stands still – and even moves backwards at times.

The contrast makes “Short Term 12” like two movies within one, halves a whole that never quite match.  Regardless, the experience provides rewarding, redeeming moments from both sides of the coin.  Larson’s performance is a true standout, as is Cretton’s knack for writing people who ring true to real life experiences.  B /