This title from Samuel Goldwyn Films will be available for rent and purchase May 1st on all major VOD platforms.
While there are plenty of features that reviewers like myself know will strike a chord with the general public, there are other, smaller titles that are clearly striving for something different. Some of them emphasize a mood or kind of experience rather than a traditional Hollywood narrative. Bull is one of those efforts. It is an extraordinarily low-key and artfully made feature that chooses to take a quiet and observational approach to its characters. That doesn’t mean that that the picture isn’t effective. While it takes some time to get to know and understand the teenage lead and her unexpected friend, they do make an impression and ultimately leave an imprint.
Kris (Amber Havard) is a poor girl living in a rural Texas community. With her mother in prison and grandparent/guardian in poor health, there’s little keeping the youngster out of trouble. One night, Kris hangs out with some friends. They decide to break into the house of an African-American neighbor named Abe (Rob Morgan), doing damage to the man’s home and chicken coop, as well as raiding his liquor cabinet. When she’s caught in the act, the girl and homeowner end up coming to an agreement. To avoid being charged by police, she consents to clean up the home, as well as help her neighbor out at his place of employment. It becomes a life-changing experience, as the teen ends up not only traveling to various black rodeos, but also develops an appreciation for bull riding.
Of course, the story isn’t all that simple, as both of these characters struggle to make ends meet and find themselves suffering in the process. As parole looks less and less likely for Kris’s mom, friends begin to encourage her to carry and deal drugs for them. Abe, who is in agony from the many injuries over his career at the rodeo, is reliant on painkillers and drink to diffuse his pain. He’s also a proud man unwilling to take what he feels are lesser jobs in his field. These life choices have pushed away his ex (Yolanda Ross), who has simply had enough of what she believes are self-destructive patterns.
While neither Kris nor Abe have any lengthy speeches about their predicament, it’s pretty clear that they may be fighting a losing battle. Instead, between individual moments of happiness, more trouble arises. Kris’ behavior early on isn’t exactly endearing and the characters are flawed, often making errors and choices that can be tough to watch. However, as the two main protagonists gradually befriend one another, they slowly win over viewers. As mentioned, there may not be any big emotional outbursts, but their stillness and quiet frustration is presented in an authentic and believable manner. Both command the screen from beginning to end.
Admittedly, this isn’t the type of movie that answers the questions it raises or resolves all the problems that the protagonists encounter. These people don’t have many options and are simply forced to exist day by day. In fact, the story leaves their lives just as open and uncertain as they were during the opening scenes. Regardless, one is given a very specific and distinct impression of the struggles that people in similar circumstances endure on a daily basis. The movie works because of a sure hand behind-the-camera and an incredible cast who don’t overplay their suffering and keep the feature feeling grounded. It isn’t necessarily a feel-good film for everyone, but those who enjoy arthouse fare may want to give Bull a go-round.