Backspot

Backspot

“Backspot” does for cheerleading what “The Novice” did for rowing: it shows the journey to athletic excellence through a specifically queer lens until it becomes an obsession. Both look pretty on the outside but take sheer force and extreme commitment to succeed. For the rest of us, they provide a rare glimpse into an elite world that we can admire without breaking our bodies in half.

D.W Waterson, who identifies as non-binary and is also a director, makes this clear at the start of the film with aerial footage of a cheerleader doing handsprings across the floor. The tumbler may be dizzying from this perspective indeed, it looks like she’s out of control but the person performing these stunts has complete mastery over their body.

No one on this team is more concerned with control than Riley, whose position gives the film its title. She acts as both leader and anchor during complex stunts: ensuring small girls land safely after twisting and flying high above ground level. Similarly, Devery Jacobs serves as sturdy support throughout even though her character struggles with emotional gymnastics too. The actress known for her roles in “Reservation Dogs” and “Echo” exhibits an aura of tireless ambition while insecurity bubbles underneath.

When Riley gets offered a spot cheering for Thunder Hawks a fancier team in their Canadian neighborhood–with girlfriend Amanda (Kudakwashe Rutendo) and best friend Rachel (Noa DiBerto), they jump at it both literally and figuratively. Team captain Eileen is played deliciously by Evan Rachel Wood; she comes off extremely demanding yet playful enough so you have to love her anyway! Thomas Antony Olajide delivers some great lines as Eileen’s supercilious second-in-command, such as “Don’t call me sir; I’m 32 that hurts my feelings.”

You won’t find much self-aware playfulness here like you would see in something like “Bring It On.” This isn’t just fun; anything short of total victory is considered a failure in this deadly serious business where girls’ instincts are heightened for better or worse. Brief glimpses into their home lives are efficient reveals: Riley’s emotionally distant mom (Shannyn Sossamon) maintains modern minimalist aesthetics while constantly absent father figures leave kids wanting approval from icy coaches instead. In contrast, more level headed Amanda lives cramped working class homes buzzing with children’s laughter all day long; reckless party girl Rachel serves as amusing counterpoint making DiBerto’s lively performance welcome comic relief amidst toxic environment.

But Joanne Sarazen’s script lacks characterization elsewhere do these girls go to school? Do they ever do anything besides eat sleep cheer? Maybe that’s actually point behind montage showing actual blood sweat tears because plucking eyebrows one by one against extreme close-ups only indicate manic inner state which might suggest otherwise wouldn’t have bothered editing film myself if thought worth watching again later down road sometime soon someday maybe eventually hopefully probably not likely though either way thanks bye!

In contrast, the Thunder Hawks present their long last single take routine on the competition stage with shiny smiles and glittery bows. Jacobs’s co-stars do acrobatics while acting, which makes it more impressive.

The ending of “Backspot” may annoy viewers who wish for their characters to learn positive lessons and grow. This is a realistic representation of an all consuming drive that sticks the landing.

Watch Backspot For Free On Gomovies.