The Motel Life ***

The Polsky Brothers, Alan and Gabe’s directorial debut, The Motel Life, is a gradual and quietly moving, low-key affair. It’s an adaptation of Richmond Fontaine frontman Willy Vlautin’s 2007 novel of the same name, pivoting on the central character-driven performances from Emile Hirsch and Stephen Dorff – the latter of which, especially, re-emphasises the actor’s often forgotten talent here.

Frank (Hirsch) and Jerry Lee Flannigan (Dorff) are brothers and orphans, two of life’s perpetual losers but sharing a strong sibling bond. As boys, they make a promise to their dying mother to stick together, whatever. Their existence since has been living in motel rooms, with alcoholic Frank’s stories and one-legged Jerry Lee’s animations as their much-needed escapism. One night, Jerry Lee returns to their rented room to reveal he was involved in a hit and run, resulting in the death of a small boy. Panicked, the brothers decide to move on, but not before Jerry Lee winds up in hospital. Meanwhile, as Frank gathers what they need to go back on the road, he decides to make contact at their destination with his old love, Annie (fleeting appearance by Dakota Fanning), the daughter of a prostitute.

Starting on a low ebb, this story could have spiralled out of control into a glut of self-indulgent despair, but it’s tenderness and ironic ‘hope’ – stemming from the brothers’ will to survive and their obvious talents – keep things on an even keel as events around them unravel. Without the stimulating adult animation (buxom naked ladies and scenes of mutilation) and David Holmes’ score, it’s debatable whether this film offers anything new to the indie road movie genre, as the brothers’ predicament seems all too familiar.

That said Dorff effortlessly paints a miserable and tragic figure as Jerry Lee opposite Hirsch as Frank who is as unlucky as his brother, except for one enlightening moment where both Frank and you believe his luck is changing. This gives the otherwise hapless tale a little boost of inspiration.

The actors share a very intimate scene that is simple and beautifully enacted, both tender and heartfelt to highlight the unconditional sibling bond. Nevertheless, the low-key nature of the rest of The Polskys’ bleak plot means some of the nuances in the brothers’ very different characteristics are sometimes overshadowed by the sudden inject of the stark animation that chops up the scene as things get interesting with the characters themselves. Still, the ending manages to marry the uneven parts, tugging at the heartstrings as hope finally wins through.

The Motel Life will share a very special place in an indie fan’s heart, someone who appreciates a simple story about the strength of sibling unity when the chips are down. The real tragedy is The Polsky Brothers’ well-meaning tale may not have enough of the compelling characters of other such films or the edgy drama to travel the full distance at the box office.

3/5 stars

By @FilmGazer

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