Sports dramas have almost always been plagued by a severe lack of spontaneity.
Much of that tradition continues with writer and director, Bart Freundlich’s Wolves. The film follows the exploits of high school basketball phenom Anthony Keller, (Taylor John Smith) as he strives to fulfill his hoop dreams, while dealing with the demons of his gambling addicted and self destructive father, Lee (Michael Shannon).
As a senior and high school celebrity, Anthony enjoys the moniker of “Saint”, a name given to him for his heavenly range from beyond the ark. However, Anthony has a habit of shrinking during big and often intimidating moments. Anthony’s reluctance can be traced back to his relationship with his father Lee, a University English professor who spends a good portion of the film expounding life lessons to his students that double as commentary about the film and life itself. It’s not until a brief and painful exchange at the dinner table, that Lee exposes his bullish and jealous inner workings. Ultimately, he goes on to jeopardize his son and wife’s (Carla Gugino) future by insnaring himself with a variety of gangsters.
Unsurprisingly, the film is a showcase for some brilliant acting. Though not given much to work with, Gugino shines as the films caring matriarch, Jenny. Basketball games in Wolves are some the most organic in recent cinematic history. At times rivaling the likes of He Got Game and White Men Can’t Jump. Presumably, this is due to working with actors who actually know the game, and choreography that seems to play out in a true to life fashion.
Wolves’ third act is by far it’s weakest. At times completely relying on age old, and often lampoonist stereotypes that make it’s ending feel a bit contrived and mechanical. John Douglas Thompson’s street ball paternal figure, “Socrates”, is a great example of this. That being said, the predictable tropes ultimately fail to detract from what is collectively an emotionally grounded and well intended coming of age tale. Once released, the film should have no problems resonating with larger audiences.
-Ryan Brown
