Never Stop Chasing
If there’s one thing synonymous with Oklahoma, it’s earth-shattering tornadoes. The extreme phobia for most became a lifelong passion for another man: Reed Timmer. Timmer is a world-renowned storm chaser, a former OU graduate and the primary subject of Director Ken Cole’s pulse-pounding documentary. Cole (also an OU alum) and Timmer are lifelong collaborators whose previous work, Tornado Glory and Tornado Chasers, cemented their reputation as experts in their field. Their latest film, Never Stop Chasing, is action-packed, sobering and moving.
The film chronicles a two-decade-spanning commitment to the courageous efforts of storm chasing, as we are brought face-to-face with the depths of Mother Nature’s wrath. Through stunning archival footage, we witness Timmer and Cole navigate triumphant highs and devastating lows—be it the historic 2013 El Reno tornado resulting in the passing of storm chaser icons Tim Samaras, Paul Samaras and Carl Young or the subsequent loss of Joel Taylor, Timmer’s former Storm Chasers partner, in 2018. The film revels in the majesty of the storms while also illustrating the real-life stakes and devastating human toll involved.
The film’s true power derives from the quieter, more confessional human observations. Being immersed in the intricate day-to-day process of the job and the people who sacrifice everything to do it is awe-inspiring. While they lead extraordinary lives, they hope, fear, dream and grieve just as we do. The jaw-dropping visuals are wondrous, but the humanity at the eye of the storm is what makes this a force of nature.
The Rivals of Amziah Kin
Have you ever heard of a neo-Western crime thriller, comedy, musical? Well, you are in luck. This best describes Oklahoma-native director Andrew Patterson’s sprawling, genre-bending slice of Americana. Not since the early work of Robert Altman and Sam Peckinpah has a film gripped me with its rich sense of place, strong characterization and unpredictable narrative.
Set in rural Oklahoma, the film’s opening titles transport us to a scrappy, small town drive-in diner complete with spirited townsfolk, a wait staff that has memorized your food order and local musicians that serenade the customers with a spontaneous live performance.
Amziah King (Matthew McConaughey), the loquacious band leader, is a beloved community figure who spends most of his time beekeeping at his thriving local honey-making operation. His sage advice and infinite wisdom are characterized by his checkered past and hard-lived life. Just as his life takes a turn for the better—following a serendipitous reunion with his estranged foster daughter Kateri (Angelina LookingGlass)—rival businessmen attempt to lay waste to his newfound freedom.
This is a one-of-a-kind movie-going experience—full of life, vibrancy, texture, whimsy and atmosphere. The film envelops you in its mystical universe, shifting between various tones and genres while remaining rooted in emotional truth. The brilliant supporting cast—Oklahoma-native Bruce Davis, Kurt Russell, Tony Revolori and Cole Sprouse—color Patterson’s vivid world with intellect, menace and humor. McConaughey delivers his best work in years. Newcomer LookingGlass turns in a magnetic, star-making performance. There is magic in it.
Nimrods
If you are a Millennial or Gen Xer of a certain age, chances are your adolescence was at least partially soundtracked by the hit tracks of Green Day. Their 2004 rock opera masterwork American Idiot consumed my high school and college years. Their emphasis on political/suburban malaise, righteous rage and teenage angst ignited an entire generation. For all these reasons, Director Lee Kirk’s Oklahoma-filmed comedy—described as a “coming-of-age Green Day road trip movie”—excited the emo teenager suppressed inside me.
Mason Thames, Kylr Coffman and Ryan Foust star as Tommy, Fred and Chad—a Green Day-obsessed, ragtag trio of misfits. They are all members of Analog Dogs, the grungy garage band they hope will lead toward the successful path of their idols. Following a botched attempt at sneaking into a local Green Day concert, Tommy cooks up a wicked scheme. He convinces Fred and Chad to join him on a cross-country trip to Los Angeles under the false pretense that Analog Dogs is opening for Green Day’s New Year’s Eve show. The trio hits the road with a faulty alibi, no driver’s license and a stolen car. Their friendship is put to the test, one elaborate obstacle and shady motel clerk (Fred Armisen) at a time.
This film knows its target audience and spoils them rotten with shameless fan service and fist-pumping needle drops. Of the talented trio, Oklahoma-native Coffman steals the whole show. His portrayal as the unpredictable, neon-green haired Fred is comic gold. The film strikes the right balance of heart and earnestness without jeopardizing its punk-rock spirit.
This article appears in Not Quite Bedlam.