Joey Magidson
I’ve written about this before, but when an actor makes a filmmaking debut, it’s always fascinating to see what he or she chooses to do. For Harris Dickinson, he’s working from his own original premise in Urchin, a tough movie that features some very affecting work. Is it perfect? No. Is it ultimately a solid showcase for Dickinson behind the camera? Very much so, and a film that doesn’t let you off easy. That being said, given the subject matter, would you want it to?
Urchin mixes some very slice of life observations as well as some artistic flourishes. Neither are fully successful, though not for a lack of skill. There’s simply some first time filmmaker things going on, though ultimately, when it’s working, the flick has the ability to suggest great things in the future for Dickinson.
Mike (Frank Dillane) is an addict hustling on the streets of London to survive. When not begging for money, his interactions with others always seem to get him into trouble. When his friend Nathan (Dickinson) takes some money, their argument over Mike trying to get it back causes a scene. An act of kindness by an onlooker leads to Mike making a choice that catches the attention of law enforcement, compounding his problems.
Given a chance at redemption, Mike does his best. Of course, it’s not easy, and the more chances he gets, the closer he gets to being beyond help. Gigs as a line cook at a restaurant and working in trash collection allows him to meet people who may point him in a healthier direction. At the same time, his penchant for self-destruction threatens everything.
Frank Dillane is very good here, with a part that’s not easy to grab on to. Dillane shows you the humanity of the man while never excusing his behavior. So, you don’t always enjoy watching Mike’s adventures, though you’re always compelled to see what he does next. Harris Dickinson gives himself a small part to play, and while he’s hardly the focus, he’s good as well. Supporting players here include Shonagh Marie, Okezie Morro, Megan Northam, and more.
Writer/director Harris Dickinson has a feel for the streets here, which mixes somewhat oddly with the occasional fantastical elements that seep through Urchin. On the one hand, that does allow you to feel like you’re a little bit in the head of our troubled protagonist. On the other hand, it sometimes brings you out of the film and its reality. So, it’s a mixed bag, even if Dickinson clearly has a lot of talent, allowing the movie to succeed overall.
Urchin is a calling card of sorts for Dickinson and Dillane, especially the former. I’ll be very interested to see what he chooses to do next behind the camera. Regardless of that, this film offers up enough her to be worthwhile on its own. The movie isn’t an easy watch, but despite what you see Dickinson subject Dillane to, you just can’t look away.
SCORE: ★★★
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