Electric Slide – Review

25th March 2015

Loosely based on a true story, Electric Slide tells the story of Eddie Dodson (Jim Sturgess), an in-debt furniture salesman and ladies-man in 80’s Los Angeles who, in an effort to keep both the bank and a ruthless mobster (Christopher Lambert) off his back, starts robbing banks. With the involvement of Pauline (Isabel Lucas), the Bonnie to his Clyde, they go on a thrill spree, but as bank after bank falls, the police begin to close in.

A huge theme at play here is the mocking of the American Dream, the greed and denial that fuels it, how this rots any substance from life. This is well, well trodden ground but Director Tristan Patterson brings enough style and flair to his direction that it doesn’t dampen the films enjoyability.

Patterson has successfully crafter a super stylish crime film, tres chic and 80’s to the hilt. From the costume to the soundtrack, everything screams the period, not so much transporting you to the period as water boarding you with it, and it’s irresistible. The soundtrack is sensational, offering a taster of some of the best Post-Punk and New Wave like Iggy Pop, The Psychedelic Furs and X, as well as a blasting synth theme.

While there is ample support with the likes of Lambert, Chole Sevingy and Patricia Arquette pulling their weight, and star Lucas does admirably well, considering she has so little to play with as far as development, Sturgess is the absolute backbone. He adds another string to his acting bow, bringing his feminine, half-mumbled Dodson to life, both infuriating and charming, he’s always mesmerising. Though he may not pull off a classic performance, he pulls out a memorable character.

All of this isn’t to say there aren’t problems. Despite the design flair and splashes of humour on offer, the plot draws the short straw, leaving reasons to sympathise with Dodson and Pauline feeling superficial and half-drawn. It also falls onto character cliché and archetype too quickly, as is the case with Lambert’s character, or just not enough development, as with Lucas’. It could be argued that the superficiality is intentional, that it is all a part of the dissection of the 80’s, capitalist lifestyle, but only Patterson’s future films will confirm or dispel that.

All that can be said with certainty is that Electric Slide is an achievement of style winning out over substance in the memory, the look, sound and Sturgess far outlasting the characters or plot.

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