THE STORY – Inspired by the true story of Amanda Ogle, this inspiring drama follows Amanda, an unhoused woman living in her blue 1991 Toyota Corolla as she seeks employment in Seattle. Her precarious situation escalates when her car is stolen and later impounded, with the towing company demanding exorbitant fees she can’t afford. Refusing to accept this injustice, Amanda confronts the broken system, engaging in a year-long legal battle to reclaim not only her vehicle but also her dignity. Along the way, she forms meaningful connections with other women in similar circumstances, gradually rebuilding her life and sobriety through community and persistence.
THE CAST – Rose Byrne, Octavia Spencer, Dominic Sessa, Elsie Fisher, Ariana DeBose, Demi Lovato, Corbin Bernsen & Simon Rex
THE TEAM – Stephanie Laing (Director), Jonathan Keasey & Brant Boivin (Writers)
THE RUNNING TIME – 105 Minutes
Most might look at a $273 towing fee and scoff, roll their eyes, and begrudgingly pay it. But for someone such as Amanda Ogle, an unhoused Seattle woman whose car is her literal lifeline, that kind of money isn’t so readily available. When societal systems continuously try to keep you down, you have to do what you can to fight back. That’s the heart of Stephanie Laing’s inspiring “Tow,” which chronicles the true story of Amanda’s attempt at navigating the justice system, experiencing homelessness, and trying to make ends meet when nothing seems to work in her favor. It spotlights a reality that nearly 800,000 unhoused Americans face on a daily basis and shows just how ruthlessly cruel society can be toward those who are trying their best. Though the film rushes through pivotal moments, it’s elevated by another great Rose Byrne performance, as well as other supporting players in the cast.
Amanda (Byrne) has fallen on hard times, but she’s the last person to label herself unhoused or needing help. With her 1991 Toyota Corolla meticulously organized with all the cosmetics, clothes, and sleeping gear she needs, she feels unstoppable. When the sun goes down, and it’s time to rest for the day, she has her routine down to a science: Park the car in a quiet area, freshen up for bedtime, put dark shutters up on the windows, and hope that no one cites her for vehicular loitering. Unfortunately, other people can see right through the façade. In pursuit of a vet tech job, potential employers see red flags due to her outdated resume and questionable work history. But if you’re not given a chance, how is anyone supposed to succeed?
What “Tow” does all too heartbreakingly well is show how life is a constant battle between wins and losses. When Amanda finally gets a job, the worst thing happens to her immediately: Her car is stolen. After it’s located and moved to a towing company, she faces a $273 bill from a friendly employee (Simon Rex, who doesn’t get enough screen time) but simply can’t afford it. Plus, given that she was entirely not at fault, why should she have to pay for it anyway? Amanda’s stoicism and stubbornness kick into overdrive as she sues the company and wins her case. But that win is short-lived because the towing company sold her car at an auction, and she once again doesn’t have the means to pay for it back.
The unfair ways she’s being treated only fuel her fire, even if it leads her down some difficult roads. Byrne handles Amanda’s story with grace and compassion, showing her as a headstrong woman who is also hurting on the inside. Not only does losing her car mean it makes it hard to find work, but it also puts even more of a strain on her relationship with her daughter, Avery (Elsie Fisher), who already lives several states over with her father. Amanda hides her struggles from Avery, a commendable act in many ways, even as it drives a wedge between them when Amanda’s promise to visit for Christmas goes unfulfilled. With her anxiety-inducing work as a mother on the verge of a nervous breakdown in “If I Had Legs, I’d Kick You” and the emotional rollercoaster ride of emotions she takes on us in “Tow,” Byrne is having an amazing year showing the complexities and multitudes that come with motherhood. It’s about time this stellar actor receives the recognition she’s always deserved.
As Amanda pursues further legal action, Laing spotlights more of the challenges and realities that come with the position she’s in. With nowhere to go and no friends to turn to, Amanda has to find shelter wherever she can, whether it’s frigid nights sleeping on the streets or in a homeless shelter, which is often a challenge given how many others are looking for a bed. Barbara (Octavia Spencer), a stern but caring woman, takes her in at a shelter, but there are rules and expectations Amanda is expected to follow if she wants to earn her keep. There, she also meets Denise (Ariana DeBose, delivering her strongest post-Oscar performance), a mother who struggles with substance use and is kept away from her children, and Nova (Demi Lovato), a mother-to-be who worries about the life she’ll give her child. It’s interesting to see how Amanda compares herself to these women and just how far in denial she is, as she believes that she’s “not as bad” as they are and that once she gets her car back, things will be all better. Additionally, when her legal fight escalates, and she has to deal with a nasty tow company representative (Corbin Bernsen), she reluctantly seeks out the help of a young lawyer named Kevin (Dominic Sessa). Their dynamic is endlessly entertaining, with her being ruthlessly rude to him and stealing his bike and him just trying to figure out how to navigate the waters around this woman.
It would be easy for “Tow” to paint Amanda as a hero and saint, but she’s far from perfect. The film and Byrne sensitively chronicle her alcohol relapse and how that impacts her relationships and her living situation. It’s never an over-the-top, dramatic showcase but one that feels very grounded and true to life. One scene in particular, when Amanda finally breaks down and admits what led her to this point, is overwhelmingly moving, and Byrne will break your heart. It’s just a shame that the film often cuts these pivotal moments a bit short. The shift from being sober to drinking again, or from holding her head high to falling apart, often happens from scene to scene and doesn’t give the audience, or Byrne, enough time to show the journey. Perhaps that’s the point: To show how quickly things can change instantly, but it leaves audiences with a bit of whiplash. Similarly, developing other characters, mainly the other women in the shelter, would have elevated that storyline and provided more depth to the complicated issues surrounding homelessness. The foundation is set with Barbara, Denise, and Nova’s characters, but there’s just not enough script dedicated to them.
Ultimately, “Tow” is the kind of inspiring and uplifting story that audiences have always loved and will continue to champion. With Byrne’s grounded and stoic performance, she deeply explores one woman’s life and shows us a side of reality that’s not often showcased on the big screen. As “Tow” shows, life is a series of ups and downs, and sometimes those low points can be detrimental. What’s most important is to keep moving forward and fighting for what’s right, even if the odds are stacked against you in the most vicious ways possible.
