What exactly incites the buried savagery and toxic testosterone? An unresolved issue regarding a remorseless Shane having an entanglement with Gavin’s ex-girlfriend five years ago. A new problem arises minutes when a stripper turns up to the hotel room. She happens to be Gavin’s Filipino “savior” girlfriend, Addy (Levy Tran). This creates a chemical, emotional, and physical eruption in Gavin that causes his inevitable relapse and reveals what his wretched soul is going through. Throughout this bender, he unleashes a trail of destruction and burns all the bridges with his “friends.” Brothers by bond not in blood, friends for years, now enemies, the three must face more than their demons to revive and restore the damage they have dealt to each other. The rest of the piece explores if these three men are capable of doing that.
However, the subtext of Two Ways to Go West is far more convoluted, yet beautifully and authentically simple, as the devices the movie employs are not artistic or striking or particularly noteworthy as implements. Because of this, the filmmakers flawlessly mirror the mundane yet imperative interactions between humans in one setting. Excluding the travel to the hotel, the entire piece is essentially a stage play set in a hotel room with five acts.
“…Liddell, Gennaro, and Kenney display genuine chemistry…”
The acts, all with Filipino names, are Mahal Kita (I Love You), Miss Na Kita (I Miss You), Ayoko Sa Iyo (I Hate You), Kailangan Kita (I need You), and Nawala Kita (I Lost You). Thus, the film’s crux is built sturdily on its script and dialogue between the characters, all of which are highly commendable. When a piece relies upon its discourse alone, it is essential to cast the right actors. Thespians who can hold their own on-screen and draw you into the story are needed, and Liddell, Gennaro, and Kenney display genuine chemistry that warrants such attention from the audience.
To the unemotive eye, Two Ways to Go West might be devoid of any artistic flair, originality, or memorable techniques. For a film’s devices to be accredited as unique and special, they must be implemented blatantly for it to be deemed noteworthy. But it is the blatancy of the regular, which makes this movie so unique. Yes, the story is inconsistent, incoherent, and volatile. But so are its characters, and so is real life, and this story is as authentic as it gets. As these three young men argue, cry, reveal their struggles, and display their vulnerability, they cement that we are all still children even when adults.
To not give Two Ways to Go West the credit it deserves for its quality is a gross miscarriage of justice, as it exceeds the criteria for an outstanding display of talent and is on-screen masterclass as an independent film.
"…the entire piece is essentially a stage play set in a hotel room with five acts."
