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He enters the doors of a juvenile hall in Sylmar, California, and finds Jarad, a young man who, at age 12, witnessed his stepfather attempting suicide by stabbing himself in the chest.The stepfather is certain that his actions caused irreparable damage to his son, and can’t help bursting into tears in court as the sentencing is issued for Jarad, who smirks in disbelief.It is the moment that moved the show’s creator, Norman Lear, to tears upon revisiting it in Heidi Ewing and Rachel Grady’s documentary, “Norman Lear: Just Another Version of You,” and it also sets the tone for another invaluable nonfiction work, “They Call Us Monsters,” the debut feature of Norman’s son, Ben Lear.Though his abilities as a filmmaker are entirely distinctive, Lear shares his father’s gift for bringing dimension and context to people widely deemed by society as monstrosities.Ebert said the aim was to “explore where the edges of that are and to see what the most is that each of us can bring to any song, and see what those outer limits are and how gently we can hang together and how thin those cobwebs can be rhythmically and even lyrically.” The album’s first song, Hot Coals, sets the tone – a blazing seven-minute song that ends with an intense two-minute instrumental that shows off the musical genius of each member of the Zeros, highlighted by the beautiful trumpet playing of Stewart Cole. But I was taking eight tenths of the song burden as far as songwriting and yet splitting evenly the money.” Track Listing: 1. Cole shines again with a catchy trumpet line to open Perfect Time, another love song that centers around the ups and downs of life.
Unfortunately, though, she remains, like Denim, a shopworn sort of woe-is-me cipher, and Williams’ portrayal of the aspiring crooner — marked by speaking in a low, clipped manner and darting her eyes about beneath her giant bangs — consistently comes across like an act.
Moreover, by the time Denim and Nikki finally do confront their more-than-friends emotions for each other, the film is practically over — a situation that undercuts any attempt to seriously investigate their romantic confusion.
At every turn, Smith and cinematographers Alexander Sablow and Benjamin Verhulst’s visuals are flat and lifeless, and exacerbate the torpor that quickly consumes “Never.” As with Smith’s fluid-sexuality story and his leads’ acting-with-an-A performances, those aesthetics give the material a distinctly ’90s texture — and, in the process, reconfirm that youthful, low-budget amateurishness never goes out of style.
He speaks with renewed hope about providing his friends at the juvenile hall with a larger-than-life example of the success that they can aspire to achieve, transforming himself into a heroic figure on par with the “blue people in ‘Avatar.’” Yet when he returns to life beyond the prison walls, he finds himself in a house overflowing with toddlers that is destined for eviction.
Suddenly, Antonio is homeless, left with little to do but get high and potentially wind up back in jail.