Alan (Keean Johnson), Red (Alex Neustaedter), and Zmitty (Daniel Zolghadri) live day to day down the Jersey shore. Their backgrounds are left somewhat vague, but one gets the impression that blue-collar, possibly-single parents are a part of the picture. Both to alleviate boredom and so they can get some of the creature comforts life has denied them, the trio performs routine burglaries, nabbing a few things from the McMansions down the shore. In the one that opens the film, Smitty is caught on a second floor when the owners come home, and he’s forced to jump to the patio below, injuring himself pretty badly. This means that the guys will need a new lookout, which brings Alan’s brother Peter (Jaeden Martell of “Midnight Special”) into the gang. Is this the decision that will be their undoing?
Early on, McMullin sketches character details as a form of foreshadowing. There’s a great scene in which a group of preppie-looking kids pull up to near where the gang is sitting. The rich kids are showing off, playing their music loudly. Red's eyes look red with jealousy and anger. He flashes a knife, just enough so the driver can see it. Not only is Red territorial, but he’s probably a little dangerous. In the same group is a young lady named Mary (Kristine Froseth), who catches Alan’s eye. In one scene, without too much overly expository dialogue, we have easily delineated between Alan and Red – the lover and the fighter. When the boys find some literal treasure as a result of their next job, we can see where the cracks will form before they do.
“Low Tide” is filled with small decisions that work. It could have been melodramatic nonsense in the wrong hands, but McMullin has a subtle, clever touch—I particularly loved a late scene in which one of the boys is trying to shake down the others and caps his demands with a long sip on a juice box, reminding us these wannabe men are still children. He also works very well with actors, giving all four of his young men a chance to shine while also using Shea Whigham as a local cop. Neustaedter is menacing in just the right measure, Zolghadri looks right on the verge of making a bad decision at all moments, and Johnson has a warm charisma that fits the role. And then there’s Martell, who anchors the film without stealing focus from his supporting actors.
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