Bull

Confused as to why some would think this film contained animal cruelty...!!! Maybe I'm not that tuned into "first world sensitivities and problems".

Strong relational film with convincing characters. Harsh depiction of working class American lifestyle - perhaps that's the focus if you do have societal concerns, one should give focus to.

Steady slow burner that will resonate.

There is a good story here, though by the end we wonder exactly how it will be resolved. Will there be more? No, that's where it ends. We are left to wonder what happened next.

There are no easy solutions, but over time, it appears progress is being made, even with many obstacles. The story could have been told differently, with a more inspirational message, but this is what someone chose to do. We want to see everyone's lives get better. What we mostly see is small victories. Life is hard for everyone and that's just how it's going to be.

Most of the acting is really good. The African American characters seem realistic, with a way of speaking that seems authentic but not racist.

The bull riding looks dangerous.

Rob Morgan is really good, sometimes compassionate, sometimes demanding, sometimes quite angry. But his character has a hard life and he just keeps pushing, with alcohol and prescription drugs to help. At least I think he is using legal drugs, legally. And maybe he has faith (crosses are painted on his cheeks at events, and a cross is on his wall). However, he is never really a loser or a bum. If he's in pain, he just has to do what is needed to keep going. And he at least starts the process of turning a young girl into a bull rider.

Amber Havard is good but not great. She's an ordinary girl rather than an inspiration, and that's fine. We've all seen plenty of inspiring stories. This film is more about a relationship that develops, and she does a capable job of showing that.

Troy Anthony Hogan reminds me of someone, but mostly he just seems real. I'm not really sure what his job is. People like his food and young bull riders train at his place.

Sara Allbright, as a prisoner, is always smiling, no matter what, and seems determined to succeed, but like everyone else, she must face obstacles.

Steven Boyd isn't really a bad guy, but just someone who has to do what is needed to get by. Maybe some won't like what he does (I can probably say it's illegal) but he is nice enough. Not quite a stereotype.

Family friendly? A lot of words were missing. Abe drinks. The grandmother is bitter and uncaring. Drugs are used in a few scenes. Most drug use, however, seems legal and justified. There is a Christian message at times but it's pretty much limited to what I will call Black rodeo, smaller events which are not the ones that make Abe his real money.

If you're looking for excitement, there is some from time to time. But maybe it's better not to expect too much, and just be pleased with what is accomplished.

Greetings again from the darkness. A film focusing on an unlikely intersecting of cross-generational dead-end lives in a mostly ignored poverty-stricken area on the outskirts of Houston may not seem like much of a pick-me-up during these challenging times. And while it's not a crowd-pleaser, it is pleasing in a high quality independent filmmaking kind of way - especially to those of us who thrive on such projects. Writer-director Annie Silverstein's first feature film was co-written with Johnny McAllister and Josh Melrod, and it never tries to impress with any cleverness or trickery, and instead allows us to wallow in the harshness of a world that has its inhabitants grasping for hope.

We first see 14 year old Krystal (Kris) and her little sister messing with a chicken that's been killed by their pet pit bull in their backyard. The chicken belongs to their African American neighbor Abe, who threatens to shoot the dog if it comes in his yard again. Kris spends an inordinate amount of time taking care of her little sister. They live with their constantly annoyed grandmother while their mom is incarcerated. Jailhouse visits begin with hugs, and end with frustration. Kris seizes on an opportunity while neighbor Abe is gone for a weekend rodeo. She invites her friends over and they raid Abe's liquor and pain pills, and trash his house. The kids all have fun, but Abe is understandably upset when he returns home.

In a show of mercy towards Kris' grandmother, Abe agrees to allow Kris to clean up the party mess rather than be arrested and shipped to juvenile detention. Slowly, very slowly, Abe and Kris begin to bond. She is fascinated by middle-aged Abe's history. He was once a bull rider, and now he's a bull fighter - one of the guys in the arena who distracts the bulls so the riders can escape safely after their ride. His body and spirit are broken, and he's constantly in pain and sore. Kris, a sullen teenager, carries her own pain. Her situation is such that we (and Abe) find it difficult, if not meaningless, to judge her. She desperately wants to be loved and cared for, but finds none of that through her family or "friends."

Rob Morgan, who was so memorable in MUDBOUND (2017), plays Abe, a man who fights to maintain his dignity in a profession more conducive to younger folks, and with a body that continues to fail a bit more with each gore. He has some type of relationship with his ex, Sheila (Yolanda Ross), but mostly he's alone and quiet until he's around his fellow rodeo performers. Newcomer Amber Havard plays Kris, and captures the confusion and hurt with subtle facial movements of an actress far more experienced. The moment her mother (Peggy Schott) lets her down yet again is gut-wrenching, and we feel Kris' pain every bit as much as we feel Abe's pain at the tip of a bull horn.

Ms. Silverstein's film is surely to draw comparisons to the excellent THE RIDER (2017), with its understated approach, and power in the quietness and stillness. It touches on African American rodeos, and provides a contrast with 'white' rodeos, while also showing us the sex and drug issues facing young Kris. With its multi-generational view of life, we see a girl desperate for a role model, and a man coming to terms with loneliness. Kris and Abe prove quite the odd couple as she finds a glimmer of hope in her desire to become a bull rider, and Abe finds a companion and reason to carry on. The two fine performances help us deal with the often bleak daily lives of Kris and Abe, and Ms. Silverstein directs her film in such a visceral way that, as viewers, we are appreciative when the cloud lifts just a bit.

Some say this film is slow, I say it takes the time to envelope you in the characters and environment. It gives you the space to understand the players and develop your own opinion of them as it goes. Each character is very distinct except Crystal, who is developing and burgeoning. She knows her world is limited but also knows she needs to do something to make a life for herself. It reminds me a little of Winter's Bone, although the lead actor isn't quite as impressive as Jennifer Lawrence, she does hold you engaged as her story plays out. You can't help but feel sympathy for her but also recognise her stoic resolve. It's a matter of fact film with a positive view of the world. I loved it.

It seems that the two types of opinion regarding this film are either from those against cruelty to animals or the ones who don't think it has anything to do with cruelty to animals,......... Let's put that subject to one side, Bull is a pretty well made film, that's well cast but doesn't offer anything particularly new regarding story. It is obvious it has been created with heart and talent even though it falls short with originality. Scored it 5, might be low to some but I think it hits right in the middle with satisfaction. Will happily look into the cast and crew filmography!