GALVESTON
This 2018 neo-noir movie was the English language directorial debut of Melanie Laurent. You may remember her from her role in Inglorious Basterds as Shoshanna, the Jewish cinema owner, who is seeking revenge on the Nazis for murdering her family. Apparently Laurent is something of a Renaissance woman, being a director, actress and singer among other things. On the surface this movie may seem familiar to you.
After a chance encounter a bad man feels obligated to defend a broken angel of a woman from even worse people. In so doing he may rediscover his own humanity, find redemption and/or even find the love that he has convinced himself he doesn't need, previously lost, or will never have. And as in many films of this type a road trip is included. So yes, we've all likely seen that story before.

Galveston follows that basic outline before deviating. This film was an emotional gut-punch because it defied typical Hollywood conventions even as it teased the viewer into thinking that they would be upheld. The best way I can describe this film visually is that it hearkens back to some late sixties early seventies films. Things are literally very dark on screen at times, which reflects some of the characters and the decisions that they make.

This is not a Hollywood action film. No one gets shot in the shoulder and declares in a deadpan manner "It went straight through. I'll be fine." When people get hurt, physically or emotionally, they stay hurt for a while.
Roy (Ben Foster) is an enforcer and occasional hit man for the New Orleans mobster Stan Pitko (Beau Bridges). Roy's vaguely aware that he's not Stan's most favorite person in the world. Apparently a woman is involved. But Roy has more serious problems. An alcoholic and prodigious cigarette smoker, Roy's been having breathing problems and coughing fits. A doctor confirms that there's a mass on Roy's lung. Roy leaves before the doctor can tell him how much longer he has to live with the Big C. Stan informs Roy and another goon that he has a job for them.

They must scare someone who owes Stan money. But because Roy and the other fellow can sometimes be too intense, Stan orders them not to take any guns with them. Just a shakedown, maybe a few slaps and threats is all that Stan wants. Well that's odd.
When Roy and his co-worker show up at the house to play Big Bad Wolf they are ambushed. But you don't become a middle aged hit man by being unresourceful or trusting.
Roy turns the tables on Stan's hitters and kills them all. Roy rescues a very young and very frightened escort named Rocky (Elle Fanning) who was evidently in the wrong place at the wrong time. Roy and Rocky flee New Orleans for Roy's hometown of Galveston. Along the way they pick up Rocky's three year old sister.
As mentioned this isn't your typical Hollywood film. Many of the people who have watched it told me that it was a downer. I thought if nothing else it was realistic about life and the choices people make. Laurent is not afraid to let things play out naturally on screen. There are many long silences, some of them awkward. Most of the people don't have any big dreams.

"When the snows fall and the white winds blow, the lone wolf dies but the pack survives."
Winter is Coming

Now this is the Law of the Jungle—as old and as true as the sky; And the wolf that shall keep it may prosper, but the wolf that shall break it must die.
As the creeper that girdles the tree-trunk, the Law runneth forward and back; For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.