‘Palm Trees And Power Lines’ Review: The Dynamics Of Sexual Predation Are Played To A Dark, Logical Conclusion [Sundance]

‘Palm Trees And Power Lines’ Review: The Dynamics Of Sexual Predation Are Played To A Dark, Logical Conclusion [Sundance]
Every so often, the movies like to argue with themselves by dropping two versions of the same story within spitting distance of one another: “Dante’s Peak” and “Volcano,” “Deep Impact,” and “Armageddon.” The one-two punch of Sean Baker’s “Red Rocket” and Jamie Dack’s “Palm Trees and Power Lines” is, for clarity’s sake, nothing like dueling dumb-dumb disaster spectacles, but to consider Dack’s film without considering Baker’s is both impossible – everyone at Sundance is doing it– and frankly careless (but mostly impossible).

Palm Trees and Power Lines,” an adaptation of Dack’s 2018 Cannes short of the same name, stars Lily McInerny as Lea, a detached, bored teenager living in what might be Florida – the state claiming the most palm trees in the country – but which, for Dack’s purposes, may as well be Anywhere, USA.

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