Film Review – Carolina Caroline (2025)

      **Carolina Caroline, 2025**

      Directed by Adam Rehmeier.

      Featuring Samara Weaving, Kyle Gallner, Kyra Sedgwick, Jon Gries, Tommy G. Kendrick, P.J. Sosko, Gregg Gilmore, Jamald Gardner, Matthew Smitley, Ed Formica, and Robert Stevens Wayne.

      **SYNOPSIS:**

      A young woman teams up with a charismatic con artist on the run, leaving behind a path of crime and desire as they travel through the Southeast in search of her estranged mother.

      In Adam Rehmeier’s Carolina Caroline, the titular character, Caroline, has never truly met her mother, who abandoned her and her father (Jon Gries) when she was just a baby. Growing up in South Carolina, Caroline has led an unsatisfying life, working at a local convenience store and returning home to a father who shows no interest in leaving his familiar chair or exploring the world (actively dismissing soccer, which might hint at some unspoken internalized racism due to his age and his Southern background).

      A chance meeting with the charming yet dubious con artist, Oliver (Kyle Gallner, in a role he typically excels in), occurs when Caroline witnesses one of his psychological hustles at the cash register, where he skillfully swaps dollar bills with confused clerks, ultimately walking away with more money than he started with. Intrigued by her ability to see through his small-scale manipulation, Oliver decides to take her under his wing as his apprentice and partner in crime. Naturally, his interest also has a romantic angle, given that Caroline, portrayed by Samara Weaving, is an attractive woman.

      During their dinner outings, Oliver showcases his knowledge of human nature, which helps him anticipate people's reactions in various scenarios, thereby facilitating his thefts or successful mental games. This greatly piques Caroline's interest, as part of her hesitation to leave her small town stems from a deep-seated fear of her mother's influence and the potential to hurt others. Meanwhile, viewers are left to ponder whether trusting Oliver may lead to her downfall.

      As the two embark on a series of increasingly serious crimes across the Southeast—starting with cash register cons and escalating to identity theft and bank robberies reminiscent of Bonnie and Clyde—questions arise regarding who poses a greater threat in their partnership. Their quest ultimately leads them back to South Carolina, where Caroline hopes to find her mother and uncover the reasons for their abandonment.

      Although Carolina Caroline features effective performances with depth and nuance that prevent it from feeling one-dimensional—and often immerses viewers in authentic settings, including towns, bars, and banks with characters that feel real rather than scripted—some of Tom Dean's writing can tread into cliché territory and lacks conviction.

      The film occasionally appears hesitant to fully embrace its darker elements, prioritizing likable characters over exploring deeper moral complexities. This leaves the story feeling overly sanitized for a narrative about a young woman transitioning into crime while navigating her feelings for her mentor/friend, not sure whether she is testing her own capacity for destruction like her mother or seeking freedom through justified theft from a mundane existence. Samara Weaving delivers a strong performance throughout, especially in later scenes, as she fights against the unfortunate circumstances of her life, determined to take control of her future.

      In blunt terms, the film often relies on montages filled with country music to depict robberies and intimacy, which may prevent viewers from fully connecting with the characters and their motivations. There’s a sense of emptiness beneath the otherwise enjoyable presentation. Furthermore, the title and moniker Carolina Caroline feels like an ill-conceived quirk that would be more suited to a straightforward romance. Fortunately, the direction and acting effectively convey the characters' humanity and the narrative, rendering the inevitable tragedy of the third act both engaging and poignant.

      **Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★**

      Robert Kojder