The Fits




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September 15, 2016 at 08:05 PM


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535.69 MB
23.976 fps
1hr 12 min
P/S 19 / 103
1.11 GB
23.976 fps
1hr 12 min
P/S 13 / 101

Movie Reviews

Reviewed by subxerogravity 6 / 10

Somewhere between Girl Fight and Bring It On lies the Fits, that fits perfectly

In a reverse of your typical stereotypes, main protagonist Toni is a girl who actually starts out as a boxer (in training, mostly so that her boxing brother can keep an eye on her while he trains) decides to make a switch to the all-girl dance team that practices next door. It's a great coming-of-age story about a girl trapped in a bubble she needs to pop.

When I saw the trailer, I noticed that the lead actress playing Toni is getting mad props for her performance, which she does deserve, but I also fell in love with the performance of the supporting actress whose plays Breezy, the friend that Toni makes when she joins the dance crew. The entire relationship was done simple and natural and yet sends a powerful message on friendship. Watching both of these young black actresses on the screen sharing scenes together made the movie for me.

There was a big metaphor in the movie that I did not fully understand about the girls having seizures because of contaminated water, it has something to do with fitting in but I'm not fully sure.

Otherwise, I absolutely enjoined this movie, especially the chemistry between the two young actors

Reviewed by ccorral419 7 / 10

Can't "fit" this film into a box

Independent Director Anna Rose Holmer (Producer of Jody Lee Lipes' "Ballet 422"), along with writer Saela Davis, present a female coming of age project filled with few words, yet provocative in meaning and intention. The cast is filled with real life youth Cincinnati drill team members, featuring strong raw performances by Toni (Royalty Hightower), her cool brother Donte (Antonio A.B. Grant Jr.), and the lovable Breezy (Alexis Noblest), all who are trying to find their way in a society that has forgotten about them. Because dialogue is at a minimum here, with individual performances driving the film and dialogue delivery at times amateur, the viewing audience must make what they will out of the vague storyline presented. Unfortunately, this lazy-faire direction by Holmer leaves the film with spurts of boredom. However, when the viewing experience is over, one can't help but want to speak to someone about what was just presented. Is "The Fits" about the desire to fit in, the epidemic currently playing out in Flint Michigan, about bonding at all costs, or something completely else? While the film may be garnering a lot of attention, I heard more "C" ratings than "A" ratings at the screening I attended (including mine), and many film attendees (again including myself) were left with more questions than the film answered.

Reviewed by freekyfridays 10 / 10

Quite simply the most hauntingly thoughtful film at 2016 Sundance Film Festival.

NYU cinematography undergraduate Anna Rose Holmer began as a camera assistant on Catherine Hardwicke's TWiLiGHT (2008) and as a grip on Lena Dunham's TiNY FURNITURE (2010). In 2014, she began scouting Cincinnati, finding not only the absolute perfect school rec hall for her directorial debut but an entire cast of young girls, all of whom attended the school.

Holmer establishes a pure, uncompromising cinematic style by quietly following Toni, an 11-year old girl boxer who roams spooky hallways, longingly gazing at "legit" dance team members. The precocious newcomer Royalty Hightower has a perfect blend of introverted determination and wandering magic, while an unexplainable contagion seems to be inhabiting random girls within the school.

What is so unique about The Fits is its power to hypnotize any viewer who is prepared for a full-blown transcendental journey. In fact, Anna Rose Holmer's relentless otherworldliness is exactly what puts her feature debut The Fits at the top of my list. Not only does Holmer's film combine the rigid silence and physical exertion of Robert Bresson's A MAN ESCAPED (1956) and Claire Denis' BEAU TRAVAiL (GOOD WORK, 1999), the eerie off-center camera-work by Paul Yee evokes the foggy locker rooms in Brian DePalma's CARRiE (1976) and the abandoned buildings in Paul Lynch's PROM NiGHT(1980).

Most importantly, Holmer's film gives her female protagonists actual character arcs. As the mysterious virus continues to attack the class, each sequence and every shot should become more important to the audience. This cinematic process forces viewers to emotionally dig-deep within themselves to truly connect with what these pre-teen inhabitants are speechlessly experiencing. For those who stay in-synch with this 72-minute, mini-masterpiece and allow themselves to feel one of the most unique and sensational finales in recent years, genuine catharsis might actually be attained.

Review taken from my 2016 Sundance Film Festival wrap up at

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