MOVIE REVIEW
La Cha Cha
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Genre: Comedy
Year Released: 2021, 2024 digital
Runtime: 1h 31m
Director(s): Kevin Allen
Writer(s): Kevin Allen
Cast: Keith Allen, Alfie Allen, Rhys Ifans, Dougray Scott, Melanie Walters, Ruby Ashbourne Serkis, Sonny Ashbourne Serkis
Where To Watch: now available on UK digital

RAVING REVIEW: Within the movie LA CHA CHA, you can sense director Kevin Allen’s drive to blend yesterday’s charm with today’s filmmaking styles. With bold (although not as daring as it used to be) smartphone cinematography, he crafts a story that, while groundbreaking, sometimes misses the mark in translating the vibrant life of its quirky characters into the depth needed for the total experience. Allen's venture highlights the delicate balance between innovative ambitions and the real-world essence of storytelling.

Nestled in the film's core is a bustling caravan park owned and operated by Libby (Ruby Ashbourne Serkis, if that name sounds familiar, it's because she’s Andy Serkis’ daughter) and Damien (Sonny Ashbourne Serkis, yep, you guessed it), which becomes a melting pot for various characters. From the untamed to the battle-weary, the park sets the scene for unexpected romance and journeys of self-discovery. Enter Solti (Liam Hourican), whose mission is to honor his grandfather’s memory, and instead becomes entangled in the park's chaos of life.

The eclectic cast, drawing together faces from Allen's cinematic past, sparks interest but often struggles to anchor a storyline that solidifies itself in many directions. Attempts at humor sometimes veer off course, creating a rift between the intended comedy and the film’s underlying emotional narrative.

Yet, amidst the turbulence, LA CHA CHA shines at showing the indomitable spirit of filmmaking under duress. Shot amid a global pandemic (every time I think I’ve covered the last film shot during COVID, another one springs up) showcases the unyielding passion for storytelling, embodying the essence of independent cinema against all odds. The film's backdrop, the stunning Gower Peninsula in South West Wales, provides a picturesque visual for the vibrant ensemble of characters, each adding a unique hue to the communal life at the site.

However, the story’s segmented approach challenges its cohesiveness, detaching viewers from the immersive experience envisioned by Allen. I can feel what he was aiming for, but too often, it just doesn’t land; that’s not to say it makes for a poor viewing decision; it just leaves us with the desire for more, a complete picture that compliments the experience.

LA CHA CHA navigates the precarious line between the allure of nostalgia and the push for a technological future, occasionally losing balance under the weight of its aspirations. It sketches an elaborate portrait of community life at the edge of society, hinting at a more profound commentary on the quirks of existence and the search for belonging. Nevertheless, it fails to deliver a unified story arc or the intended emotional punch. This experience is a mixed bag of heartfelt moments and comedy that works to knit together a narrative that resonates on the level it aims for. LA CHA CHA remains an intriguing study on the intersection of technology and narrative, exploring the continuous quest for human connection in an evolving digital landscape.

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[photo courtesy of SEVEN TALES ENTERTAINMENT LTD.]

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