THE STORY – In Quebec City’s suburbs, an attention-seeking reckless youth dives into crime, endangering his friendships, values, and life.
THE CAST – Félix Munger, David Beaudoin, Sara Montpetit, Brandon Truong, Lou Thompson, Chau-Phi Van Quirion, Jenny Mark Turmel Pichette & Mathieu Bourret
THE TEAM – Rémi St-Michel (Director/Writer)
THE RUNNING TIME – 102 Minutes
Rémi St-Michel’s compelling coming-of-age-of-a-criminal flick “Toy Gun Bandit” is a blast, mixing the anxiety of adolescence with the impact of heist films. Blending genre elements with carefully drawn character portraits, it’s one of those gems hidden in festival slates that one dreams of stumbling across and discovering. The story is anchored by a precocious yet perfect performance by Félix Munger (non-coincidentally playing a character that shares his first name). We meet him on his birthday, navigating the social mores of a party and obnoxiously trying to bring attention to himself. Dragging his other friends away, he elevates the evening’s entertainment with a mild bout of criminality, only to find himself once again abandoned after his cohorts decide that it’s not worth being away from the main crowd. In a fit of pique, Félix brings his unruly gains into a local bar, and despite not being able to be served himself due to his age, he still blows his wad of cash on drinks for the crowd, literally buying some attention and affection from strangers to fill the emotional hole he suffers from.
He soon connects with Dave (David Beaudoin) and Sara (Sara Montpetit), a tattooed couple who share a baby and a predilection for bad decision making. While Félix is still finding himself, with time to eventually grow out of this phase, Dave and Sara’s foibles are already baked in. This helps escalate the gangsterism to further heights, forming a kind of gang that’s set on smash-and-grab robberies. The result is a chaotic yet compelling look at these misfits as they fail in often spectacular yet eminently believable ways. There’s a dash of “Anora” or even “Uncut Gems” in the telling, yet the tone is uniquely set by St-Michel’s capable direction, eliciting fine performances from his sturdy ensemble. The setting in Quebec may not feel ripe for a dive into the criminal underworld, but its pacific, suburban surroundings mark a fine contrast for the sociopathy we witness.
The use of language itself is critical to the characterization as well, with specific Quebecois argot employed in almost weaponized fashion, akin to the mangled Glaswegian slang that “Trainspotting” so forcefully employs. It makes for something that feels hyper local, and yet thanks to Munger’s nuanced take, audiences continue to empathize with the characters even as they descend further into malfeasance.
The ancient Greeks coined the term katabasis to refer to a descent into the underworld, a journey that inevitably shapes those who go on such an odyssey. “Toy Gun Bandit” explores such a journey, one that begins by playing tough guy with the fake weapon of the film’s title, only to learn that the articles of childhood are too easily replaced by things that can genuinely cause harm and consternation. “Toy Gun Bandit” is playful and powerful, one of these “little” films well worth seeking out. With strong performances, a unique milieu, and a morally challenging storyline, it’s definitely a film that’s worthy of attention and praise.
