A drifter enters a small town looking for employment. While working at the local cattle ranch, he meets and falls in love with the beautiful Kitty and becomes involved in a deadly yet erotic love triangle.
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In the 50's, the drifter Clay Hewitt arrives in a small town in the countryside of Kansas and befriends the locals Kitty, Earl and his girlfriend Patsy after punching their friend Joel Carter in a bar. Clay asks for a job to raise money to go to California, and Earl drives him to the ranch of the widow Delilah Ashford Potts to work with him in the slaughterhouse. Mrs. Potts is an alcoholic and promiscuous woman and hires Clay and let him stay in the barn. When Clay meets her son Joseph "Flyboy" Potts, he learns that he has just returned from a mental institution after eight years and he does not speak a word to anybody. Further, his only friend is a bull called Jim that belonged to his father. Clay falls in love with Kitty and gets close to Flyboy that becomes his friend and slowly changes his behavior. When Clays decides to leave the town, he discloses a dark secret to Kitty. Meanwhile Flyboy's change of attitude unleashes a series of evil events and revelations from Mrs. Potts.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The box art may be the highlight, OR so little story, so much (125mins) time.
That this film has a running time OVER 2 hours, and has had little or no theatrical recognition, immediately activates my senses. This length will complicate scheduling on pay-cable, and meant pressing an additional disk for the laser package. Why?. One possibility (rare) is that it is truly an auteur's masterpiece, not for the masses, maybe, but important enough, as is, to be kept intact. The more likely scenario is that this movie is such a waste of time that everyone involved could really care less what gets released. By now they've all changed their names, left town, and moved onto the next..
Predictably, The Locusts falls into category 2. Vince Vaughan in a muscle shirt and Ashley Judd with her cotton dress flying in the wind are about all this film has on the plus side. Dragging and nagging situations, disconnected dialogue, and uncertain motivation tend to make most every frame tortuous to endure.
First time-writer-directors (John Patrick Kelley here) tend to script a very personal project, one based on material with which they are intimately familiar-they draw on their strength. Subsequent efforts can wane, as the writer ventures into more unfamiliar territory. With this in mind, I leave you with 2 questions: (1) Where in the world did this story come from? And (2) What can we expect from John Patrick Kelly when he starts writing from an unfamiliar point of view ?
The answers may scare you.
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