Review: ‘Concrete Cowboy’ Presents A Unique Twist On The Coming-Of-Age Genre
Marking the directorial debut of actor Ricky Staub, Concrete Cowboy is a significant upgrade in the ever-multiplying rotation of Netflix original films. Both at times poignant and funny, modern but undoubtably nostalgic, this film is overall successful at being both a heartfelt drama and an inclusive addition to the generic culture of the Western.
Based on the 2009 novel “Ghetto Cowboy” written by Greg Neri, the story follows that of 15-year-old Cole, cast out from his mother’s home in Detroit after his expulsion from school and is sent to live with his estranged father Harp in Philadelphia. While this may sound like the set up for your average family drama, the audience as well as Cole gets an unexpected surprise when Cole arrives at his father’s apartment and is greeted by a horse.
In the living room. Named Chuck.
From this point forward, Cole is introduced to his father Harp’s unconventional community, known as the Fletcher Street Riders, a group of black cowboys and cowgirls who own, care for, and house horses in the rundown and abandoned stable-converted buildings on Fletcher Street. It is through this transition and introduction to this subculture that Cole must confront issues pertaining to his past and his future, including the disconnect between him and his father as well as his rekindled friendship with his drug-pushing friend Smush.
Idris Elba is by far the most recognizable name in Concrete Cowboy’s cast lineup, successfully portraying Harp as a father consistently walking the line between distant and loving in his own gruff way. However, the most standout performance was that of 19-year-old Caleb McLaughlin, known predominantly for his role as Lucas Sinclair in the series Stranger Things – another Netflix original. McLaughlin’s characterization of Cole is both endearing and irritating at all the right moments, and his on-screen chemistry with Jharrel Jerome as Smush feels authentic enough to earn the truly heart-aching intensity of emotion that McLaughlin is able to display in the latter half of the film.
It is also important to praise the performances of real-life Fletcher Street Riders featured in the film as well, including Jamil Prattis as Cole’s stable mentor Paris and Ivannah-Mercedes as Cole’s love interest Esha. This information is revealed through interviews taken during production – in which the location was also the real home of Fletcher Street Stables in Philadelphia – throughout the end credits. If you give this film a watch I highly recommend staying for the credits, as the collaboration and intention displayed between Staub and the Fletcher Street community can only enrich your experience.
Another element of the film that was particularly eye-catching – or ear-catching, as it were – is Kevin Matley’s score. With a blend of contemporary hip hop tracks and classical solo instrumentals, Matley creates a vibrant and explicit distinction between Cole’s life in Detroit and the shape Cole’s life takes when he integrates himself into his father’s community. These two halves of the score almost compete with each other for the musical tone of the film, much like how Cole must ultimately make a choice between the familiar and deadly trappings of urban drug pushing and the simple, earnest life promised by the fleeting Fletcher Street.
While its urban setting may not initially fit the traditional Western mold for many viewers, Staub communicates a genuine appreciation for the genre, most notably through the work and expertise of cinematographer Minka Farthing-Kohl and editor Luke Ciarrocchi. Ciarrocchi’s emphasis on intensifying the yellow, orange, and brown tones occurring naturally within the setting and costume design, as well as Farthing-Kohl’s utilization of the sun as the only key light source creates a beautiful and generically cohesive visual aesthetic reminiscent of the arid, desert-like landscapes commonly found in some of the most influential Western entries such as The Searchers.
It may be important to note the infrequent instances in which I felt aspects of the film fell short, because nothing is perfect; Specifically, certain moments that were clearly set up to be reincorporated towards the end (particularly Cole wanting to learn how to stand on the back of his horse) felt awkwardly placed and perhaps even forgotten about until the last 10 minutes of the films, which is predominantly where these “problem” moments found themselves.
Despite the few beats that did not completely land for me, which are very subjective and may resonate more for others than they did for myself, I found Concrete Cowboy to be an overall thoughtful and well-crafted drama, as well as an engaging and original addition to the coming-of-age film, a subgenre I don’t typically enjoy. As a Texas native I will certainly be recommending this picture to all my cowboy friends - though there is plenty for city-slickers to enjoy as well.
