After a turn of events involving a case of mistaken identity, extramarital affairs, and a gun going off, Ray Jepsen—who co-owns a hardware store in the small town of LaRoy—is instantly catapulted to ‘baddie status’ overnight. How did this all happen? Ray (John Magaro) spent years as the punching bag of the Jepsen family (especially by an older, intrusive sibling who gaslights his younger and more hardworking brother), as well as being neglected by his missus, a former pageant queen with bigger dreams than Ray can afford. So it’s no surprise that a simple—yet bloody—misunderstanding proves to be both a blessing and a curse for this gullible man. And, of course, no neo-Western outing would feel complete without twists and some good old-fashioned blackmail galore.
“LaRoy Texas” benefits from an intrigue-filled premise, suspenseful subplots, and characters who arrest one’s attention. They also collide with each other, both literally and metaphorically. The speedy manner in which Writer/Director Shane Atkison introduces viewers to each mysterious characters and sets up their interactions piques one’s curiosity, while also filling the audience with unease. An instance of this includes the ominous conversations in the first scene of the movie. A trucker whose ride breaks down in the middle of a dark deserted road of the titular town is picked up by a kindly stranger, who gives off hints of malevolence with his cryptic conversational tone. This also adds to the overall neo-noir ambience, with folksy country songs playing over the car stereo, unable to drown out the moodiness that envelops this slow-burn thriller.
Atkinson’s Neo-Western Many Archetypes
Atkinson also excels at not letting his various neo-noir/neo-Western archetypes go to waste. He forms a Walter White-esque leading man in the form of insecure Ray, along with a host of characters in the throes of desperation. We see dingy motels and pubs with seedy names such as ‘The Velvet Saddle,’ which are inhabited by even more unsettling people.
Many of Atkinson’s characters share common traits of reliving or gloating over a past glory, such as the deceitful and washed-up beauty Stacy Lynn (Megan Stevenson), who’s been chasing a loan that’ll aid her in opening a salon (and to impart ‘valuable morals’ to young girls/women keen on chasing their own pageantry dreams). And we have Ray, who is selfless in his affections towards a wife who doesn’t reciprocate, or a private investigator Skip (Steve Zahn), who chases a high despite his falling success rates and skewed practices of interrogation. Lastly, Ray’s frat boy-esque older brother Junior (Matthew Del Negro) childishly cooks up stories in order to appear more popular high and humiliate his younger sibling under the guise of entertaining house guests.
Loyalty seems to mean nothing to anyone—nor is it reciprocated—in the town of LaRoy, Texas. In fact, apart from a hitman-for-hire committed to getting the job done, or Skip, a loyal sidekick and wingman to Ray even when not needed—there aren’t too many role models abound in this bittersweet tale. Denial plays a part with Ray himself, who overlooks any evidence of his beautiful wife being unfaithful to him, despite it being clear as day to everyone else. As much, “LaRoy, Texas” suffers from a fair share of flaws. Much like its oblivious and indecisive main character, the plot tends to run around in circles, with its final few moments opting for a contrived route.
Steve Zahn Leads a Varied Cast
Steve Zahn immerses himself into the role of Skip, the amusing badgeless private detective who dresses like ‘he’s going to cowboy prom’ (according to Stacy Lynn). Among his others flaws, he can’t even spell ‘detective’ on his visiting card. Zahn is a natural at bringing a charm to this character’s questionable knack for inciting chaos and unhinged melodrama, and his comic skills shine via the various and hysterical interludes afforded to this character. Dylan Baker is also effortless at switching between the sympathetic gentleman and heartless killer. He will one moment stand up for a barkeeper when she is harassed by a local group of molesters, while later fill the role as a coldblooded killer willing to get his hands dirty.
The film also throws in some others. These include John Magaro’s awkward ‘David Mitchellian’ mannerisms, which enable audiences to sympathize with Ray while facepalming his actions. Ray seems to invite trouble rather than duck it, and has a reluctance to accept and move on from toxic situations—burying himself further into a grave when things don’t turn out in his favour. The supporting cast comprising Megan Stevenson and Matthew Del Negro turn in formidable performances as well.
Ultimately, “LaRoy Texas” proves successful in extending beyond its neo-Western/neo-noir qualities. The film also acts as a compelling morality tale on the lengths to which opportunistic individuals go in order to maintain a squeaky-clean public image. This is even if such superficial and prideful appearances do nothing to extinguish their discontentment within.
“LaRoy, Texas” will be heading to all major UK digital platforms on April 12th.
