Fun
Frisky
Nostalgic
Intense
Adventurous
Choked Up
Curious
Romantic
Weird
Brie Larson did not win an Oscar (or get nominated) for her work in Short Term 12, but she should have. Before she broke our hearts and blew us away in Room – and took home her hard-earned gold statue in the process – she delivered an absolutely breathtaking performance in this little film, one that did not get nearly as much attention as it deserved. The Glass Castle, which hits theaters this weekend, marks the second collaboration between Larson and director Destin Daniel Cretton, and based on the trailer alone, it feels like awards bait. It’s a little disappointing to see Cretton and Larson go so flashy after finding success with such an intimate story, but luckily, it serves as a reminder that Short Term 12 is worth a rewatch – or a first-time viewing for those who have never seen it.
Larson leads the film as Grace, a young supervisor at Short Term 12, a group home for troubled teenagers who have nowhere else to turn. She works alongside her sensitive, caring boyfriend Mason (played endearingly by The Newsroom‘s John Gallagher Jr.) to counsel the kids and protect them, and in turn, deal with some seriously heavy things. While attempting to help these teens navigate their darkest issues, Grace soon encounters a new resident named Jaden, a girl Grace has more in common with than she initially thinks, and over time, her own painful roots emerge. Too many details will spoil the heartrending, poignant journey the film takes viewers on, but bearing witness to the simultaneous growth of Grace and the group of teens is the kind of cinematic experience that doesn’t come very often. In addition to Larson and Gallagher Jr.’s absorbing, affecting performances, the moments we spend with Short Term 12’s inhabitants – including rising star Keith Stanfield‘s heartbreaking Marcus – are nothing short of stirring.
Short Term 12 doesn’t employ bells and whistles to win you over; it doesn’t need them. It’s a delicate, achingly human character study, one that’s complex without ever feeling contrived or clichéd. What could have easily become overwrought or melodramatic in the wrong hands is instead powerful, warm, and vulnerable. Short Term 12 is an indie film without being an Indie Film – because it can’t be relegated to such a stigmatized corner. It’s a sThe bittersweet, authentic film feels like a slice of life, and Larson’s consistent, incandescent performance easily cements her as one of our most valuable young actors. There’s not a single moment of Short Term 12 that isn’t compelling or honest, and it carries the rare, rollercoaster ability to make you laugh one minute and devastate you the next.
If you ever lose sight of what a magical pairing Larson and Cretton can be in all the murkiness of Hollywood politics and highly-anticipated big-screen adaptations of best-sellers, return to Short Term 12. This little movie was made for under $1 million, a rare feat nowadays, and it boasts a 99% Certified Fresh rating on Rotten Tomatoes. The gravity of Larson’s performance – one that drives the entire film home – is proof that you don’t need big bucks, flashing lights, or awards buzz to make a moving, emotional piece of art. Short Term 12 is a rare, unmissable gem; yes, it’s a showcase for its stunning performers and necessary story, but it also pushes us to look at our own emotions, experiences, and relationships in the process – and that’s something we should never take for granted.
