Film, 2021
Red Rocket won me over so thoroughly, it wasn’t until I stepped out of the theater that I realized how relentlessly it tested the edges of my comfort zone. The film could have become unpalatable in an instant if any one of its uneasy equilibriums were miscalibrated, but Baker pulls it off.
The humor hits a sweet spot where it keeps the sexual subject matter and Mikey’s utter lack of integrity from growing distasteful without compromising the dramatic heart of the film. The outrageousness of Mikey’s conviction in his own greatness helps cast his self-serving antics as endearing, while the grounding reminders of the hurt that follows in his wake had me repeatedly questioning why I still wanted so badly for things to work out for him.
There’s a thrilling briskness to the film that left me wanting to come back for more. Big scenes like the rollercoaster ride, Strawberry’s performance of “Bye Bye Bye”, and Mikey’s declaration at the train crossing were visual, aural, and emotional treats that ended well before I had finished processing all of the conflicting things I felt. Though quieter, the scene where Lexi mentions her son was similarly overwhelming in how it allowed only a brief moment to take in an unseen corner of Lexi’s life, a moment of vulnerability, and Mikey’s unsurprising but nevertheless crushing response.
I love the way Baker lets his characters make questionable decisions but then doesn’t judge them too harshly for it, even as he revels in the ensuing chaos.
I think Red Rocket’s greatest achievement is that it manages to be genuinely romantic. The essential scene for me was Strawberry driving Mikey home the day before they’re to leave for LA, when she tells him tearfully, “You make me so happy.” Until we see her lovestruck expression against the sunset as she turns towards the passenger seat, I didn’t appreciate how completely she adores him.