Suncoast

Suncoast
Starring Nico Parker, Laura Linney, Woody Harrelson, Ella Anderson
Directed by Laura Chinn

Death is a sensitive topic, and how one deals with death is equally sensitive. Some people cry, some laugh out of relief that their loved one is no longer in pain, some feel totally numb, and some harbor severe regret about the things said, and things not said - and those are just the tip of the emotional iceberg. When a death occurs suddenly without warning, it's jarring to the core; but when it's a death that's expected, it's almost a relief of sorts, at least for some. It gives you the time, knowing that it's about to end, to say what you always wanted to say, to spend the time needed with them, and see them off knowing they were surrounded by those they loved. "Suncoast" is one such film, a pseudo-biographical film from first-time director Laura Chinn who tells the story of how she lost her brother to brain cancer when she was younger through the eyes of "The Last of Us" star Nico Parker, who grounds the film in a relational feel as a seventeen year old girl who never got to live her life because she was always caring for her brother's terminal illness - and as the clock winds down, focuses on her emotional journey as she prepares to deal with the inevitable - and the heartbreaking.

Doris (Nico Parker) lives on the wrong side of the tracks with her workaholic mother Kristie (Laura Linney) and her older brother Max (Cree Kawa), who suffers from multiple illnesses that has left him an invalid, and on the brink of death. For years Doris took care of him, foregoing the traditional childhood and teenage life like friends and fun, and as such she's developed terrible people skills. When her mother decides to put Max in hospice care, he's put in the same place that Terri Schiavo is being kept, with around the clock protestors stationed outside.

One of those protestors is Paul (Woody Harrelson), who recently lost his wife to a brain aneurysm, and who takes Doris under his wing, talking about death and how she'd feel terrible if she doesn't spend her time with Max and tell him everything she's been wanting to tell him. She doesn't listen, and as Kristine's mannerisms exasperate her, she opens up to a group of popular girls at school who take her under their wing. As her popularity grows, she grows farther from her family, thinking she'll still have time to say goodbye - but time is a fickle thing, and she might not have as much time as she thinks she does.


The Good:
"Suncoast" is a roller coaster of emotions, one part a coming-of-age drama and another part dealing with death at an age where no one should be thinking about it. Doris is just entering her life, while Max is literally leaving his, and it's this duel conundrum that keeps the film balanced. Writer/director Laura Chinn - who's own brother died of brain cancer - holds this delicate balance in the hands of young newcomer Nico Parker, who serves as the perfect tightrope walker. On one end she gains friends and acceptance at school and is finally beginning to live the life she's been denied for years, and on the other she's dealing with her overbearing, downright mentally abusive mother and her brother who'll soon pass away.

Parker is the inspired choice for the role, as she's such a newcomer she blends into the role perfectly where you don't think you're seeing an actress you know playing the part, but rather you're more drawn into her story because you don't necessarily know her. It gives the film a more emotional heft and Parker nails it. You see her character go from shy mouse to outspoken woman, and also someone who struggles with dealing with her brother's death and how she'll deal with it. Paul tells her it's going to hurt, but she doesn't think so - what'll happen when it actually happens?

Laura Linney gives an astonishing performance as Kristine, the overbearing mother who is somewhat sympathetic but also somewhat psychotic. She is the ultimate Karen, insulting the hospice care, the police who conduct searches of her car since the complex was getting bomb threats, and treating Doris as a non-entity - until she does, which leads to one of the film's most shocking and downright evil moments. It's hard to feel sympathy for her because of how she's acting, but deep down that's another way of dealing with grief. She's losing her only son, and you feel for her in that regard - but that can only go so far, as she does numerous things in the film that's, in a small sense, unforgivable, especially how she treats Doris.

The story itself is your typical ticking clock film, where you know the end is going to happen, but it's just a matter of when. It adds a tense mood to the entirety of the film, as you see Doris enjoying time with her friends but you can't enjoy it because you're anticipating that phone call to come. It's a tired and true method of storytelling, and here it's done rather well. Not perfect, but not the worst. You feel for Doris through it all, and you feel the constant sense of dread as the clock ticks down.

In a surprise change of pace, you'd expect Doris's new friends to be snobby and snooty to her, especially after her house (which was used for house parties and what made her popular in the first place) becomes closed off after her mother finds them there. Yet here they're morally supportive, and even help drive her to the hospice care when needed. They actually serve as her moral support through it all, and it was really refreshing to see.


The Bad:
It's something that was probably unavoidable because this was based on Laura Chinn's life, but the film was spread too thin for any true emotional feelings to resound. While the emotions were there (especially in the end), it felt like there was more that could've been done, if only the film was more focused. There's the moments at the hospice care where we see Kristine unravel as she thinks the nurse is too young, there's an annoying humming that keeps Max awake, and dealing with the crowds outside. Then there's Doris and her newfound circle of friends that carry the brunt of the story, leaving Kristine's role more muted as she's relegated to an almost one-note Karen-type character. We don't see her smaller, quieter moments (save for one moment in the chapel), and she comes off as someone wholly unlikable and who we don't have enough emotional feel for that we should.

Then there's the relationship between Paul and Doris, which feels like the fourth wobbly wheel. Woody Harrelson sleepwalks through the role as he serves almost as Doris's voice of reason, appearing only when she needs someone, and offers the sage advice that, of course, she doesn't take until it's too late. He has one moment where he talks about his wife, but even then the emotion feels forced for someone of Harrelson's caliber. All these parallel stories keep the film from finding its grounded center, and while it still provides the emotion and feels, there could've been more if the story was more focused.

Finally there's the thing which I guess was unavoidable since, again, it was based on real life, but the addition of the Terri Schiavo case overshadows the film. It so happens she's at the same hospice care facility as Max, so there's numerous scenes of the protestors outside and the blockades that feel totally unnecessary to the story apart from providing some tense moments.


The Summary:
Part coming-of-age film and part dealing with the realities of death, "Suncoast" is kept balanced by the young acting talents of Nico Parker and leaves you with some emotional payoff that doesn't feel forced - but doesn't feel complete either.


The Score: B+