“Catch the Fair One” is activist filmmaking at its most compelling. Before you run away from the notion, consider this: It doesn’t feel like this tough, relentlessly dark thriller is trying to push…
” is activist filmmaking at its most compelling. Before you run away from the notion, consider this: It doesn’t feel like this tough, relentlessly dark thriller is trying to push some kind of political point, even if so many of its creative choices succeed in doing exactly that.has made a riveting vigilante story that can hold its own alongside Paul Schrader’s most punishing payback fantasies. Imagine daughter-rescue drama “Hardcore” with a female fighter in the George C.
Reis supplies that lightning bolt of originality here. This may be her first big-screen role, but she’s a natural, coming on with all the intensity of a clenched fist: cheeks pierced, arms inked, shoulders hunched like an agitated honey badger ready to attack. The result is a locomotive of pain and retribution, delivered by a character who makes Halle Berry’s “Bruised” boxer look like an unweaned kitten by comparison.
The film opens and closes with a fantasy, in which Reis may as well be playing herself: Her alter ego, Kaylee Uppeshau, is backstage at a boxing match, taping her wrists and prepping for a prizefight. In real life, Reis is the first mixed Native American boxer to win a pro title, whereas for Kaylee, those days are long gone . Before, Kaylee’s kid sister Weeta was her biggest supporter, but after the teen disappeared walking home from her gym one day, Kaylee’s life unraveled.
But Kaylee is stuck. Action is her only option. She’s a complicated character who doesn’t speak much, which means that audiences must lean in to make sense of what’s happening as her plan unfolds. Kaylee has done her research. She’s identified the pimps who pair underage Native girls with clients willing to pay for that fetish.
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