Car trouble is a universal problem. Whether it’s a leaky gasket, blown tire, or, in the case of Amanda Ogle (Rose Byrne), theft and a hefty tow fee, dealing with vehicular issues is never fun. At the mercy of the mechanic, you’d usually just pay whatever they state so you can be on your way with your car and your life. But for Amanda and her $273 fine, it isn’t so simple. She depends on her car a bit more than most. As a way of transport, sure, but also as a roof over her head. While Tow, directed by Stephanie Laing, has much to say about the pressure society and big companies can put on struggling individuals, even Byrne’s great performance isn’t enough to save it from stalling out before it really ever gets going.
Amanda is down on her luck. She moved to Seattle three years ago in search of a job as a vet tech, and unfortunately, wound up houseless in the process. Now living out of her car, she’s trying to get back on her feet. All of her belongings, including her makeup, sleeping bag, and perfect cardboard cutouts for her windows, are stored in her trunk that is always packed just a little too full. Things are starting to look up after she lands a job at a veterinary office, despite her outdated resume and lack of a college degree. But, as soon as she strolls out of the office back to her car, it’s gone.
Unable to pay the fine incurred from the tow company, no thanks to the friendly but boss-obedient employee Cliff (Simon Rex, who doesn’t get nearly enough screen time), Amanda finds herself without her home. Tow works best in moments when it highlights that life is about taking the wins and losses of every single day. Some days deal more wins while others deal only losses, something Amanda is all too familiar with. Determined to bring about more wins in her life, she takes it upon herself to sue the tow company and get her vehicle back.
The story is one of relatability – an everyday inconvenience turned into a life-changing event. Byrne’s range of emotion, especially coming off the heels of her Oscar-nominated performance in If I Had Legs I’d Kick You, really hits home the huge impact a single decision can have on someone’s life. She is able to quickly convey a myriad of emotions that translate into a journey of sympathy, forgiveness, and even flaw. It’s too bad the film zooms past most of these pivotal moments. Tow is a little too focused on the repetitive nature of Amanda seeking legal support, flailing in any one of her many different relationships, and waiting for something good to happen. And even when something good does happen, it’s kneecapped by another roadblock to get past in order to achieve the seemingly impossible in getting her car back for good.
However, if the movie teaches one thing, it’s that life is never as easy as it seems. Amanda is on the verge of reclaiming her car and avoiding all fees when she finds out the tow company has sold it. Thus, David vs. Goliath round two begins. Her legal case begins to escalate, and so do her personal problems. Amanda is now staying at a shelter, operated by strict but good-faith Barbara (Octavia Spencer), and occupied by other well-meaning women in similar positions, like Denise (Ariana DeBose), Jocelyn (Lea DeLaria), and Nova, who gets a strikingly awkward musical solo at a Christmas gathering, probably because she is played by Demi Lovato.
A seemingly strong supporting cast feels frail and lacks any true authenticity from any of the participants. On top of that, it feels as though they never intertwine with Bryne’s character to elevate each other. Moreso, they just … exist. The movie leans into the idea that actions have consequences and everybody is capable of making mistakes, except it does it a little too often and too spread out amongst characters to have a resonating impact.
To that end, Amanda’s relationship with her daughter, Avery (Elsie Fisher), who lives in Utah, is strained by the circumstances. Amanda’s consistent choice to lie to her about having a vet tech job is made with noble intent, to protect her only child from the harsh realities of her situation. But it also flags the deep-seated struggle of people in positions such as hers and how difficult it is to accept the reality of needing support. The film really fails to grapple with integrating that dynamic into a fruitful subplot, among many other watered-down and strange subplots that the movie takes the scenic route on for some reason.
With its fair share of odd-toned narrative detours and wrong turns, the movie fails to coalesce into something with emotional heft. The potential for it to be a small gem of a movie and something that takes a strong stance against the outlandish societal problems facing an underserved section of society existed, but was never capitalized on.
Under the continued escalation of her court case and continued skirting of the law and courtroom by the towing company and its owner, Martin LeRosa (Corbin Bernsen), Amanda finds herself in even more dire straits. Sometimes all of your hard work amounts to nothing against a system designed to see your downfall, and she and Kevin learn that the hard way, incurring a now $21,634 fine to obtain her car. Yet she doesn’t stop fighting. Her perseverance, combined with the support of her many friends, carries her to becoming a local hero. And, of course, getting her car back. Through all the ups and downs, wins and losses that life hands you, giving up is the worst choice you can make. The movie understands that. And, unfortunately, throws it at you a few too many times.
At the end of the day, Tow is a feel-good story about battling demons, both inside of you and in the form of an evil corporate entity. The cast, full of notable actors, can’t quite find their groove, supporting Rose Byrne’s great performance and the movie’s core themes, due to stiff line readings and strange narrative decisions. While the lessons strewn across the film are honorable, the movie as a whole isn’t able to bring them to great success. Tow ultimately stalls out as a heartwrenching movie about a houseless mom that could, and becomes a boring movie that couldn’t.
Review Courtesy of Ethan Simmie
Feature Image Credit to SkyWolf Media via THR