WATCH THE TRAILER HERE
First, the Recap:
Repudiation. Exclusion. Spurned. All of this becomes another facet of life that none of us would wish to say we’ve experienced. Yet, it remains an often-disconcerting fact that in at least some form, almost ALL of us have felt the remorseless grip of actions associated with those words. Likewise, it all then boils down to whether we choose to allow the pain that manifests from them to beat us down and forever make us see ourselves as something less, or instead to overcome it and see a new person emerge for the better. Socially awkward teenager Moe (Kabir McNeely) fights disheartening, very real battles of self-image on multiple fronts, even as at least a few individuals like his parents Natasha (Mira Stern) and Stephen (Geoffrey Kostal) as well as his friend Aubrey (Kaia Hayes) try to bolster and encourage him otherwise. As events transpire, what will it take for Moe to find the courage to stand up and find newly discovered worth?
Next, my Mind:
The relentlessly merciless specter of rejection, presence of deep-seated, low self-worth, and the crippling weight of isolation and hopelessness all get a candid, real-world, fully credible, acutely executed visual tapestry to reveal themselves thanks to the newest indie short film effort from writer/director/producer/executive producer Kabir McNeely, executive producer Kenneth McNeely, and associate producer Inder Dhillon. In its abbreviated 14-minute runtime, we are privy to these all-too-relatable, far-too-common, and painfully affecting realities faced by so many in this already tumultuous world that puts such undue and more so unwarranted pressures and supposedly relevant “standards” upon us that so crushingly impact an individual’s entire sense of value that it becomes needlessly but understandably “real” and “true” to them–or might actually initiate a more constructive drive and desire to PROVE the opposite.
In presenting a narrative that delves into these inner conflicts through the stirring beauty of stripped down, raw filmmaking and the accompanying, undeniably necessary thematic forays it showcases, one teen’s struggles and the goals/means by which he makes attempts to combat them (with highly varying levels of success paired with equal number of “defeats” and stringent denial) doesn’t shy away in any manner from the concepts it’s illustrating, doing so with absolute, evocative intentionality that is a deft mix of both subtlety and overtly conspicuous sequences that meld smoothly together to form the grander picture being pursued. It takes us into the realms of every emotional and physical toll the situations extract but then also delivers the ULTIMATE message by the time the film’s cleverly (I felt, anyway) worked finale arrives that cements a singular and deeply important primary gist to be gained from all we’ve witnessed–HOPE.
Additionally, another of the film’s main purposes addresses holding onto, acknowledging, being hampered by, and conquering FEAR, an element which almost exclusively goes hand in hand with the other aspects of emotional and physical instabilities the narrative traverses. But again, I always admire and applaud indie filmmakers for having the consistent, unwavering fortitude to create efforts that paint the portraits OF mental, emotional, and physical health-based issues because it is even MORE imperative given the state of our world culture, especially coming out of the initial stages of the new age of COVID-19 as well as socio-political unrest, that the well-being of ALL of us as well as caring for those who find themselves believing there’s NO escape from inward and outward strife IS taken seriously while being considered paramount to rendering building and needed aid to those suffering from it. It’s films like these here that I hope becomes an ongoing springboard for higher awareness and beneficial, supportive, sympathetic ACTION.
McNeely, as with his previous effort “Keith” (reviewed here), brings to the table not just his growing and developing skills as a writer/director/producer, but also as an actor, here once more bringing perfectly apropos levels of believability and whole-hearted, sincere, not overplayed or melodramatic, gravitas to the title character of Moe, a teen challenged by a few distinct areas of his life that have blatantly hinder him socially, emotionally, and physically. Having very few outlets to calm the storms he’s confronting, with even fewer people in his immediate circle who show actual intent to support and genuinely motivate him, Moe must see if he can find it within himself to rise up. As stated above, I love the straightforward, uncomplicated means by which McNeely plays the character, as he realistically conveys so many of Moe’s physical and psychological battles in a manner that treats the material and the character’s plight with due respect while making it known how serious he is in wanting the aforementioned awareness to be raised.
Supporting roles arrive in good number and with solid performances from Brandon Leland as Coach Skip, the aforementioned Stern and Kostal as Moe’s empathetic yet also conflicted parents Natasha and Stephen, Hayes as one of Moe’s only friends Aubrey, Zac Toomay as Coach Underwood, Madison Marshall as Moe and Gwyn’s friend Maeve who could be an unanticipated catalyst for change. Other turns are present from Fiona Ma, Brody Rogers, Matt Brody, Kaia Hayes, Riley Hashimoto, and Pranjali Lobo among a host of others. So, in total, “My Name Is Moe”, for this critic, is one to assuredly recommend at minimum for the sake of the keenly essential messages it aims to divulge and the subsequent realizations I hope it elicits within us as human beings while also bringing about a larger base of those who suffer from these ailments to have opportunity to recognize, accept, and experience that liberation from all of this IS more than plausible and achievable. Be there for one another, don’t ostracize, but rather unify and CARE, folks. Plain truth.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
