The buzz on the low-budget independent drama Short Term 12, has been building steadily since the film won the SXSW Grand Jury Feature Award and Audience Award earlier in the year. Sometimes these titles end up disappointing when released outside of the festival circuit. Thankfully, this effort is a very well acted and mostly effective. One can easily see how the film has gained so many accolades.
Grace (Brie Larson) is a twenty-something supervisor at a foster care home for troubled teens. The duties of the protagonist and her exceptionally good-natured co-worker/boyfriend Mason (John Gallagher Jr.) include chasing down runaways, calming the residents when they become violent, and maintaining a safe and healthy living environment. The trials involved are witnessed in detail when a new employee (Rami Malek) arrives and is shown the ropes.
While Grace has a challenging time dealing with patients, her personal life becomes equally troubling. Still deeply traumatized from abuse she suffered many years ago as a teen, she begins to relate closely with a new resident named Jayden (Kaitlyn Dever). Grace soon suspects the girl is a victim of unreported physical cruelty. The protagonist also has to contend with the stress of an unexpected pregnancy with Mason and whether or not she wants to keep the baby. The stress of these complicated and difficult situations ultimately begin to take a toll on Grace’s mental health.
The filmmakers attempt a naturalistic approach and characters speak in a real, conversational manner that doesn’t feel scripted. It’s an effective technique lending authenticity to the story. All of the principals give striking performances, and there are some interesting and powerful individual moments as the workers slowly form relationships with the kids. Not only do the children slowly open up about the hardships they’ve been forced to endure, but the adults share some sweet and horrific revelations as well – these moments are highlights.
There are a few caveats, however. The new employee, who is obviously used as point of entry for the audience, is written in far too naive a manner. He’s so clueless early on, it almost feels as if he simply walked in off of the street and was appointed a caregiver job.
And, after establishing a realistic tone that builds to an especially dark turn at the end of the second act, the resolution that follows feels too sunny. Events are quickly resolved and every loose end is tied up in such a neat and inspirational a manner that it doesn’t feel nearly as convincing or believable as the rest of the film. Still, these are minor beefs.
It isn’t perfect, but Short Term 12 is one of the stronger independent efforts of recent months. Those interested in small, character-based drama will ultimately find much to appreciate and admire.