Scrapper (2023) Comedy Movie Review

While this might sound like a sad or dramatic plot, writer/director Charlotte Regan brings a unique touch to the story. The tone is fluid, allowing for moments of whimsy, sadness, tenderness, humor, and even some meta-commentary from the neighbors who act like a judgmental Greek chorus.

Georgie's life of deception can't last forever, and her best friend Ali is in on the secret. They steal bikes together and navigate Georgie's journey through grief. The big question is when the "state" will catch up with her. As Georgie's partner-in-crime, Ali knows everything about her, providing a peek into the challenges and emotions of Georgie's unconventional life.

When Jason enters the scene, everything takes a turn. Georgie isn't thrilled to see him – after all, he abandoned her and her mom. However, her friend Ali is surprisingly fond of Jason. Who wouldn't be? Jason has a youthful vibe, dressing like Slim Shady circa 2000. But where has he been all this time? It's a mystery. Jason's sense of responsibility toward Georgie is fuzzy, but he acknowledges it. Georgie, on the other hand, seems independent and creative. What does she even need from him? Jason tries to help, even if his advice on scraping serial numbers off stolen bikes is a bit unconventional (and funny). Georgie's mom taught her how to manage a household, make lists, and stay organized. Meeting Jason reveals how much father and daughter are alike.

While it's tempting to compare "Scrapper" to "Aftersun," they don't share much except both focusing on a father-daughter relationship. "Scrapper" brings back vibes from the tomboy films of the 1970s and early '80s, like "The Bad News Bears," "Paper Moon," and "Candleshoe," featuring tough young girls portrayed by Jodie Foster, Tatum O'Neal, Linda Manz, and Kristy McNichol. These films showcase girls navigating a challenging, indifferent world after being abandoned by adults. They've got a bit of a rebellious streak, and "Scrapper" aligns with this theme. Drawing parallels with Peter Bogdanovich's "Paper Moon," both films involve a deadbeat dad returning home after the death of the woman he left. However, the tone is entirely different. In both, a scrappy girl challenges the expectations of her trickster dad. What could possibly go wrong?

Harris Dickinson is carving a niche for himself, showcasing his versatility in various roles. From the quietly tormented character in "Beach Rats" to the Pretty-Boy-Avatar in "Postcards from London," he's proven his acting prowess. In "Matthias & Maxime," he exudes aggressive heterosexuality with an intriguing twist, and in "Triangle of Sadness," he brings a gorgeously empty presence. Dickinson's project choices are captivating, and in "Scrapper," he nails the role of Jason, a man-boy with a kind heart emotionally matching his tough-talking daughter.

The true star of "Scrapper" is Lola Campbell, who owns every scene as Georgie. Despite it being her only credit, Campbell's performance feels incredibly authentic. She brings real-life verisimilitude, devoid of the typical traits of trained child actors. The chemistry between Dickinson and Campbell feels genuine and unexpected. While Georgie may seem self-sufficient, she's still a child longing for her mom. In a culture that often overlooks grief, Georgie's struggle threatens to overwhelm her, leading to actions as a coping mechanism for the void left by her mother's death.

Director Charlotte Regan's stylistic choices, like the color-coded Greek chorus neighbors and comic-book humor from Georgie's perspective, shouldn't be dismissed as "twee" or cute. Instead, they serve a purpose. "Scrapper" mirrors Georgie's survival strategy – collecting scraps. The film, like its title suggests, is about a unique form of resilience, one that is makeshift and messy, much like a heap of scrap metal transformed into something both beautiful and intimidating. It hints at a vaguely criminal element, showcasing a resilience rooted in lived creativity. "Scrapper" unfolds as a tale where Georgie and her father create their own rules and inhabit a world of their own making. Overall, Regan's directorial debut is truly remarkable.