Is ‘Lockjaw’ the Grief Comedy We Didn’t Know We Needed?

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Over the years since its debut in 1995, the Slamdance Film Festival has been overflowing with low-budget creations from budding artists who rose and fell just as swiftly. However, it’s worth noting that this festival has catapulted many promising careers into the limelight. Directors like Rian Johnson, Christopher Nolan, and the Russo brothers (Joe and Anthony) are some examples of filmmakers who significantly advanced their careers after being part of Slamdance. Most frequently, the festival serves as a milestone in the career journey for marginal, first-time filmmakers. They give it their all, and if fortune favors them, they might get another chance in the future. This is typically the case when a Slamdance submission doesn’t quite indicate the emergence of a major new talent.

To the list is added Sabrina Greco, whose leisurely and occasionally captivating first film, titled Lockjaw, made its premiere at the 2025 Slamdance festival, which has now shifted its location from Salt Lake City, Utah to Los Angeles. The story revolves around a compelling concept. In the movie, the protagonist Rayna finds herself with her jaw wired shut for the entire film following a car accident she caused while under the influence of alcohol, six weeks after the incident. On her first night out on the town since the accident, she brings along her quasi-boyfriend Mitch and their envious male friend, Noah. As the evening progresses, events take an unusual turn when the trio encounters a magician and his artist spouse.

Although it may bring to mind notable mumblecore films, Lockjaw relies on a playful, abstract premise that doesn’t fully deliver on its promise of exploring a woman’s guilt through clenched jaws and silence, while her companions struggle to criticize her as severely as she warrants. In Greco’s screenplay, characters tend to circle their feelings or hide them rather than openly expressing them.

Although marketed as a comedy, the movie primarily offers just a few amusing moments, with most of the humor coming from Blu Hunt’s impressive performance. Using subtle facial expressions, body language, and minimal vocalizations, Hunt effectively portrays Rayna’s complex, frequently challenging emotions. However, when Rayna is depicted as a troubled woman who struggles to communicate her feelings or progress her character, it weakens our engagement with her and the movie overall.

Symbolism That’s Better in Concept than Execution

The opening credits of Lockjaw are intentionally somewhat hazy to hint at a gritty, nocturnal exploration reminiscent of John Cassavetes’ style. However, Greco isn’t aiming for this or emulating Martin Scorsese’s chaotic, humorous depiction of a soulful comedy nightmare in After Hours. Instead, Lockjaw, over the course of its leisurely 80 minutes, revolves around Rayna’s struggles, employing symbolism that is more conceptual than effective, while also offering a rather unengaging portrayal of male camaraderie and envy.

From the very beginning, it’s clear that Mitch (the incredible Colin Burgess, who plays his role so well in Search Party) is technically Rayna’s boyfriend. However, Noah (Kevin Grossman) seems eager to join the team if given the chance. The three of us spend the pre-game at a relaxed house party, where Mitch concocts various tales to explain Rayna’s jaw issue and frets about her potential return to drinking. When Noah proposes we spice things up by going to a magic show, Rayna eagerly accepts the opportunity to “make our night unforgettable,” while Mitch suggests we “keep things low-key” after Rayna’s accident.

Greco instructs her actors to speak their lines with a casual, contemporary realism in mind. Remarkably, they all comply, yet the ambiance remains notably laid-back. This is strikingly different from Richard Linklater’s early films or the groundbreaking works of Greta Gerwig and the Duplass brothers, where even the most careless lines were imbued with vitality and intention.

At one extreme is the star performer of the magic act, a magician named Robert, who initially appears dressed in a striking all-black Beat poet ensemble, including dark sunglasses, snapping photos of bar patrons. Portrayed by Nick Corirossi as an extremely eerie and arrogant figure from another film, Robert serves as a more abstract concept in Rayna’s exploration of guilt, although it remains uncertain whether this was the original intention. In many instances, Corirossi seems to embody a symbol rather than a character, which makes Robert appear overly broad and ill-fitting.

Coming to Grips With Trauma Using PowerPoint?

Following Robert’s magic performance, he along with his unsettling partner Cleo (Ally Davis) leads the group back to their residence where events unfold further. However, instead of leaving this rather unpleasant couple’s home in a jiffy as one might expect, Greco insists everyone remains for a while so that Robert could share with Rayna a genuine PowerPoint presentation about her accident (fortunately, he didn’t add the CCTV footage he obtained). Despite its peculiarity, this situation also prevents Rayna from dealing privately with her trauma.

Considering the budget constraints, cinematographer Neal Wynne delivers an impressive performance when it comes to illuminating the nighttime exterior scenes of the house where Rayna vents her anger by damaging Cleo’s artwork. It is revealed that Mitch and Noah are at odds due to their feelings for Rayna. Instead of dealing with her sorrow, Rayna chooses to suppress it, inadvertently pushing both men away. This leads to some poignant interactions, such as when Rayna’s friend Annabelle (Sally Sum) points out that Rayna and Mitch’s relationship seemed stronger before the accident. Notable moments also include Annabelle putting on her retainer as a show of solidarity with Rayna’s wired jaw, an act which Rayna vehemently rejects.

Sabrina Greco’s Slamdance Debut Isn’t a Slam Dunk but Has Potential

Greco gains points by narrowing the extent of Rayna’s triumph towards the end, making it challenging for us to support her due to her questionable behavior toward those assisting her. Although we want Rayna to succeed, her actions test our loyalty. Hunt skillfully portrays this tension as her character takes a sip from a syringe that typically holds water but could occasionally contain alcohol. Moreover, the endearing reaction of Robert when he calls Rayna “interesting” is a heartwarming scene that Rayna swiftly spoils.

In essence, the concluding part of the movie exhibits the clarity and emotional impact that the rest could have benefited from, along with a more impactful score than Will August Park’s subtle melodies. Generally, low-budget films like this one need a script brimming with insight, originality, or rawness to justify their limited resources. Greco, being a debut filmmaker, is rich in ideas, and that’s commendable. Transforming these ideas into a cohesive piece where character, plot, and an engaging hook flow seamlessly together would be even more impressive.

The film titled “Lockjaw,” produced by Hurley/Pickle Productions and Mirmade Productions, was first screened at the Slamdance Film Festival on February 22. At present, it’s looking for a distributor.

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2025-02-25 15:02