Tag Archives: Ryan Prows

KICKING BACK WITH A BUNCH OF LOWLIFES (2017)

Gathering in Fantasia’s secret basement lair, I had the opportunity to talk with the director, a few writers, and most of the stars of recently premiered crime drama, Lowlife. Because this was such a large group, I indicate the director, Ryan Prows, with an “RP”, and others as “->”. My apologies to the non-Ryans who participated in the interview: your involvement was just as valuable as his.

366: Hello everybody — thank you all for gathering here today! I wasn’t originally slated to come and interview you fine people, but I had a gap in my schedule after I chatted with the director of Kodoku Meatball Machine

Ryan Prows
“Lowlife” director Ryan Prows

RP: Aw, shit. Was it good?

366: …Well, it certainly does what it does. [Laughter]. Whether it’s good, I suppose that depends what you’re looking for. So if you’re looking for a funny variant of Tetsuo: The Iron Man, then maybe it’s your kind of thing. [Laughter]. So, in the interim I was able to whip these questions together kind of quickly, so hopefully this will work out all right. Now, you mentioned after the screening one of the things that influenced you was Wild at Heart.

RP: Bobby Peru! Actually, we were just talking about it. Teddy’s character is totally, like, his cousin or something.

366: Definitely one of the great scumbags of… uh…

RP: “Scumbag Cinema”?

366: I wanted to ask you—you’re probably asked a lot, “Do you feel you’re like ‘this director’ or ‘that director'”—but what filmmaker would you like to be compared to?

RP: Like I said yesterday, Cassavetes meets . So hopefully there’s some kind of sensitivity with the character work, so people care about the actors, like there’s an actors piece, but there’s also RoboCop shooting between the legs…

366: So there’s a little bit of splatter-gore-sci/fi-hardcore-Western.

RP: There we go. Nailed it!

->With heart.

RP: Now with Verhoeven, it’s like the same thing. He’s so smart and does his thing, perhaps the best satirist in cinema history. Cassavetes, same thing. He made these important movies, but they’re all wild as fuck. He left his own stamp on each thing. So those are the film-makers that excite me, and I think the goal of trying to make this movie was so—I remember talking about this, when we were flying out here—from the beginning of the process to now, it was… absurd. We were sitting here a few minutes ago being interviewed and Mil Mascaras walked in to be interviewed—and we thought, “What world are we fucking living in?” We’re talking about Lowlife and this luchador comes in being interviewed next to us.

366: Yes, it seems you’ve come a nice long way there, and speaking Continue reading KICKING BACK WITH A BUNCH OF LOWLIFES (2017)

LIST CANDIDATE: LOWLIFE (2017)

Must See

DIRECTED BY: Ryan Prows

FEATURING: Nicki Micheaux, Mark Burnham, Ricardo Adam Zarate, Santana Dempsey, Shaye Ogbonna, Jon Oswald

Lowlife (2017) PosterPLOT: Unhinged restaurant owner Teddy Haynes runs a people-processing facility below his fish taco building, harvesting organs of undocumented immigrants and pimping out underage women. His enforcer, the luchador El Monstruo, is worried about the well-being of his pregnant wife Kaylee, while Kaylee’s biological mother suspects Teddy’s offer of a kidney for her ailing husband is too good to be true. Joining the madness is ex-con Randy, and soon this gang of oppressed underlings join forces to take Teddy to task.

WHY IT SHOULD MAKE THE LIST: As you can read above, the plot is a mouthful—and that’s only covering its barest bones, so as to maintain coherency. Pitch-perfect editing leaves the viewer with countless narrative teases and denials. While we’re left wondering what’s going on plot-wise, Ryan Prows bombards us with Jacobean violence interspersed with hilarious dialogue and sight gags. Topping it all off, when El Monstruo’s rage becomes untenable, the sound crashes, and someone’s probably dead.

COMMENTS: Few of the movies at this year’s Fantasia Film Festival were primed with so much hype from the festival organizers. Out of the blue, they received Lowlife through their general Inbox, unsolicited and unexpected. From nothing, Ryan Prows’ debut feature became the must-see event of Fantasia. A heavy burden, for sure—with three weeks of movies to compete against, including the new space epic, Marc Meyers’ much lauded Dahmer biopic, and (to a lesser extent), the latest Jojo movie with its ravenous fans—but Lowlife comes up trumps.  Nothing is wasted in this movie; and more importantly, it would be a welcome addition to the 366 canon.

The story is told through the perspectives of each main character: the simple but passionate luchador el Monstruo (Ricardo Adam Zarate); a bad-guy straight out of Dante’s “Vice City Infernus,” Teddy (Mark Burnham);  a hard-working, junk-hoarding motel owner, Crystal (Nicki Michaux); and a pair of friends—African American accountant Keith (Shaye Ogbonna) and his long-time pal, now with Swastika tattoo, Randy (Jon Oswald). Each of their Venn-diagram stories interact on the others’ heels, slowly moving into place, synchronizing as all the characters come together for the final action. This neat narrative stunt was pulled off by deft editing, and, to paraphrase the director, “[writing the $#!&] out of that story.”

During the disorienting narrative flow are the touches that further make Lowlife the visceral-but-surreal experience it is. When Crystal’s husband finds out the source of the kidneys he’ll be receiving, a combination of a flippant note, a heart-felt phone message, and visual exclamation point bring violence, tragedy, and humor into one tight scene, pulling the viewer’s emotions in all three directions. Then there’s the scene where Teddy, squaring off against some troublesome yahoos, seems licked when his six-shooter runs out of bullets. Heading back to his Italian-opera blaring sports car, he pops his pregnant hostage in the trunk, grabbing in her place the AR-15 that happens to be lying around in the back seat. And that’s not even mentioning the tragicomedy of el Monstruo and the comic tragedy of Hip-Hop Wigger Randy: two men marked for life from the neck up.

Lowlife plays like elements of movies many of us have seen before, but is a force unto itself. Imagine Inherent Vice on cocaine instead of marijuana; or Lock, Stock, and Two Smoking Barrels as Grand Guignol; or maybe the best comparison I can think of, Pulp Fiction with cajones. Like a spastic playing with a rubber-band, Lowlife plays with the viewer, pulling first toward shock with heartless violence, then laughter with gut-busting non sequitur (yup), then sadness with beastly tragedy. This gang of monsters, fiends, thugs, and criminals have a wacky adventure in a land of poverty, cruelty, and hilarity.

WHAT THE CRITICS SAY:

“The legacy of Quentin Tarantino’s ‘Pulp Fiction’ looms the largest over ‘Lowlife,’ with its flair for unexpected, quick violence, and interweaving vignettes. But there is also a touch of David Lynch in the film’s unflinching exposure of America’s seedy underbelly.”–Jamie Righetti, Indiewire (Fantasia screening)