Jacque Gray – Through the Shattered Lens

In 2013’s Storm Rider, Dani Fielding (Danielle Churchan) is a rich, spoiled teenager who loves to compete in horse shows with her horse, Admiral. However, when Dani’s father (C. Thomas Howell), is arrested and charged with financial fraud, Dani’s life changes forever. The government seizes Admiral and sells him to Dani’s rival. When Dani’s younger half-brother, Jordan (Jacob Buster), is sent off to live with his gold digging mother, Dani is sent to live with her uncle, Sam (Kevin Sorbo).

Sam is a taciturn veterinarian who lives on a ranch in …. well, I assume it’s Montana. Don’t most of these movies take place in Montana? Wherever the film was shot, the scenery is absolutely gorgeous. Sam’s not really comfortable with people in general and he has no idea how to deal with teenage girl, especially one who doesn’t eat meat. As for Dani, she’s initially miserable because she’s been separated from her former life and her former horse.

Fortunately, Sam owns a lot of animals. Dani notices an orphaned mule named Stormy and she takes it upon herself to train him. Taking care of Stormy helps Dani let go of her bitterness. Soon, she’s watching the blossoming romance between Sam and Jody Peterson (Kristy Swanson) and she’s got a romance of her own going with Kevin Winslow (Darien Willardson). Kevin’s father owns a horse that Dani starts to train in the hopes that she can enter a regional horse show with her.

However, when Sam, Jordan, and Kevin’s father get stranded in the mountains, it’s Stormy who helps Dani find them. When night falls and they find themselves surrounded by wolves, will they even make it back to civilization?

It would be a really depressing movie if they didn’t! Fortunately, Storm Rider is not a movie that was made to spread depression. Instead, it’s a rather heart-warming tale about a young woman who conquers her anger and discovers that a mule can be just as strong and brave as the biggest horse. This is very much a film that was designed to make viewers smile and feel good about life and, for the most part, it succeeds. Of course, I still cried constantly while watching the film because I kept thinking about my mom and my dad and how much I miss both of them. This film definitely made me emotional. Often, the best thing that a film can do is to make you cry. Sometimes, I think people forget just how important it is to cry when you’re feeling sad.

As I think I’ve said in the past, I’ve always has a weakness for films about angry or rebellious girls who find peace and grace through taking care of an animal. Whether it’s a cat or a dog or a horse or anything else, there’s something undeniably wonderful about winning the trust of another creature. “You can’t be a jerk and love animals,” someone once said and I imagine that’s true. This film, well-acted and featuring beautiful mountain scenery, made me smile even when I was crying,

“Tye Sheridan Is …. THE NIGHT CLERK!”

That’s not how The Night Clerk was advertised, though perhaps it should have been. This is one of those overheated melodramas that’s so sure that it’s making a bigger statement than it actually is that it becomes somewhat fascinating to watch. Usually, when we say that a film is fascinating to watch, we mean that it’s either fascinatingly good or fascinatingly bad. The Night Clerk is fascinatingly middle-of-the-road. It has opportunities to be good, largely due to the performances of Tye Sheridan and Ana de Armas. And it has opportunities to be bad, largely due to the direction and script of Michael Cristofer. Try as it might, the film never becomes truly good and yet it’s never truly bad, either. It’s just kind of there.

The title character is Bart Bromley (Tye Sheridan), a young man who has Asperger’s syndrome and who works as a night desk clerk at a hotel. He’s hidden cameras all over the hotel, so that he can observe the guests in their rooms. He even watches the guests when he returns to the home that he shares with his mother, Ethel (Helen Hunt). That’s undeniably creepy but we’re not supposed to hold that against Bart because he’s only watching the guests so that he can learn how to talk and communicate with other people.

(To be honest, the film is very lucky that Tye Sheridan was available to play Bart. As written, Bart is not a particularly sympathetic character. But Sheridan is such a likable actor and has such an appealing screen presence that you’re willing to overlook a lot of narrative inconsistencies where his character is concerned.)

Anyway, Bart ends up taking an interest in a guest named Karen (Jacque Gray) but, when Karen’s murdered, Bart becomes the number one suspect. Even though Bart knows that Karen was killed by a mysterious man who had a distinctive tattoo, he can’t reveal how he knows that information. When Bart is assigned to another hotel, he meets Andrea Riviera (Ana de Armas). Andrea seems to take an interest in Bart but is she sincere or is she somehow involved with the murderer herself?

Do I really need to answer that question for you?

And again, the film is lucky that Ana de Arams was available to play Andrea because Andrea is another character who wouldn’t be particularly sympathetic if she had been played by a less appealing performer. The film can never seem to make up its mind whether she’s a calculating femme fatale or a naive victim and it’s somewhat amazing that de Amas is able to give a good performance considering how badly Andrea is written.

The Night Clerk is one of those films that holds your interest while you watch it but it tends to fade from the memory as soon as it ends. Sheridan and de Armas are appealing actors but the film’s central mystery isn’t a particularly interesting one. When the mystery is finally solved, I was so underwhelmed that I kept waiting for another twist to suddenly pop up. Surely, I kept saying, it can’t be that simple. But yes, it is. Though the hotels are impressively trashy, the film itself has a rather flat, uninteresting look and director Michael Cristofer never really brings the story together. It’s a mess of a film but it does work as a testament to the talents of Tye Sheridan and Ana de Armas.