Ride the Eagle is one of those small independent character studies that wouldn’t have seen a wide theatrical release regardless of a pandemic. And that’s okay.
It’s the type of film that aims to entertain through its subdued sense of humor and drama as seen through a small cast dealing with some of life’s big issues: growing up, relationships and death. It’s a lighthearted affair for the most part, but it’ll sneak up on you if you let it.
Directed and co-written by TV journeyman Trent O’Donnell and starring co-writer Jake Johnson (New Girl), Ride the Eagle follows Leif, a loner stoner living in a tiny house with his dog, Nora, when he receives word that his estranged mother has just passed away. Honey (Sarandon), Leif’s mom, has left him her mountain cabin save for one hitch, a conditional inheritance clause. Leif must complete a list of tasks in order to get the cabin from his dead mom, for whom he claims he feels nothing.
A more broad comedy would’ve made Honey’s list full of absurd requests, leading to all manner of wacky hi-jinks before the ultimate life lesson is learned, tying everything up in a nice bow. Based on the title and some audio advertisements, that’s the movie I thought this was. Instead, Leif’s reluctant quest—while not devoid of the laughs I was expecting—takes him on a more personal journey, with Honey only requiring one devious act of pettiness from beyond the grave, and the film is likely better for it.
Johnson brings his usual charm, playing a less cartoonish version of his patented goofball who’s allergic to adulthood. And Sarandon as Honey, seen only through the VCR grain of the tape she left, is quite believable as the former wild-child mother pained by regret. Honey’s eccentricity permeates the film, from her unusual will that drives the plot, to her countless amateur paintings of dogs in wigs, women with mustaches, and groups of naked elderly adorning the cabin walls.
As Leif completes tasks such as rowing across a lake to drop a letter off on a neighbor’s pillow and calling the “one who got away,” the film broadens its scope with subplots that include another small role for a beloved actor who is revealed voice-first with some choice dialogue, and a rekindled love interest played by D’Arcy Carden (The Good Place) who co-produced and fits right in with this naturally appealing and gifted cast.
Ride the Eagle joins an ever-growing genre of independent cinema that seems reliant on the existence of Airbnb, and this rental-core style of film-making can sink or swim on its story and performances. Ride the Eagle soars high on both. Available for rent on Amazon.
