Review by Eric Hillis
Directed by: Richie James Follin
Starring: Rubyrose Hill, Richie James Follin, Lukas Haas, Missi Pyle, Samantha Robinson
Two disparate souls forming a bond on a road trip is an American indie cinema cliché second only to a protagonist finding themselves upon making a reluctant return to their hometown. But the reason so many filmmakers adopt these frameworks is that more often than not, they work. Take writer/director Richie Follin's Crystal Cross. It's basically a poor man's Buffalo '66 reconfigured as a road movie, and its characters are wafer thin, but as it heads towards its predictable destination you can't help but lean back in your seat and enjoy the ride.
Following Vincent Gallo's lead, Follin casts himself as one of his film's two protagonists. James is a mopey, suicidal man who misreads some online info that leads him to believe that euthanasia is legal in California for those with severe depression. He sets off on a journey from Austin to Los Angeles, where he hopes to find a doctor that will help him to end his life.
Before James can hit the road a panicked young woman jumps into his van and orders him to drive away. This is Dotty (Rubyrose Hill), a budding Christian singer who has seized the opportunity to run away from her drug dealing boyfriend. Learning that James is headed for LA, Dotty decides that there is no better place in America to launch her career, and so she tags along.
There are practically no narrative surprises along the way. We know exactly how all this is going to play out, with the initially bickering couple falling for one another. James and Dotty are barely characters, the former's suicidal desires little more than a cheap (and probably offensive to many viewers) plot device. James' troubled psychology is initially played for laughs with a montage of his failed attempts to exit this mortal coil, but the film then shifts jarringly into serious mode. The director isn't a strong enough screen presence to pull this off, even if he does admittedly boast a striking look (think a Cherokee Luke Wilson). Follin certainly doesn't lack confidence, as aside from having Hill fall for his character, he also casts Samantha Robinson (the Love Witch herself!!!) in the thankless role of a stranger who literally throws herself at James for a one night stand.
The plot is simple yet confusing regarding the exact nature of the relationship between James and Dotty. At one point we're left to wonder if they slept together. It's a detail that really needs to be made clear for a later revelation to have the desired impact.
Dotty is every bit the stereotypical Manic Pixie Dream Girl, but Hill's kooky performance stays just the right side of the thin line between adorable and infuriating, and her energy makes up for Follin's lack of presence. Dotty is representative of the movie as a whole - there's not much to it but it's certainly nice to look at, with Follin taking full advantage of the stunning and quirky backdrop of the American SouthWest (his film plays like a Nicecore cousin of Malick's Badlands). Crystal Cross is as frustrating as it is endearing, a film you'll either want to hug or strangle. For a version of this premise that explores euthanasia in a more satisfying manner, I recommend Mali Elfman's Next Exit.
