Directed by Alyssa Rallo Bennett and written by Craig T. Williams, follows the story of Nathan who has his graduation party crashed by his estranged mother, who has refused to accept that he’s gay. Starring: Jaylen Axel and Rosalyn Coleman.
Coming out to your parents when they come from very religious, traditional backgrounds, is more than likely going to result in a fracture of the relationship, it’s a sad truth that the world is still far from progressing past. Craig T. Williams encapsulates that with Crowbar, particularly portraying the push and pull of a conflicted relationship. Nathan (Jaylen Axel) is trying to be respectful of his mother but can’t do so at the expense of his own self-respect when she won’t accept him. Whereas his mother makes out to be helpful, while clearly showing her disapproval and attempting a blissful ignorance, which is no step forward.
The visual style feels very suited to the early 2000’s, it’s throwing back to a simpler style of drama. It’s reminiscent of the earlier eras of gay stories entering everyday film and television, which were mostly explored through coming out stories. The style is scaled back, focused on the dialogue, although it can feel a bit too basic, needing something to boost the atmosphere with tension. That said, there is a touch of theatricality to it, taking on the qualities of its leading man’s interests.
Jaylen Axel and Rosalyn Coleman are the key aspect that balances Crowbar’s simplicity. They both bring big personalities to the table, and they’re quick to push each other’s buttons. They do a great job of capturing the deep conflict to that mother, son relationship. Axel has a lot of youth and confidence, while Coleman almost taps into the classic diva feel. They portray that there was once something between them, but it may be shattered beyond repair.
Crowbar is a tense portrayal of a broken relationship between mother and son. A very relatable example of prejudice and conflict in families unable to accept queer people as their own. The visual style can feel too understated, it’s playing things extremely grounded and misses the opportunity to beef up the tension at work throughout the story. Though it’s balanced well with the great performances from Jaylen Axel and Rosalyn Coleman.
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