In the credits of ’The Baytown Outlaws’ which Barry Battles directed, God was placed at position number five. The film does not shy away from being racist as made evident by Alfred and Longoria’s conjoined character. This is a little peculiar as they feature supporting characters who only make a few brief appearances. In fact, God is filmed as a divorced couple that is ready to be on custody of a robotics-developed teenager named Rob. The characters Billy Bob Thornton and Eva Longoria did get top billing, but they played a divorced couple who are each trying to win the inheritance of Rob. The mantle is set for the deepest of imagination kinder as longs for Montgomery not only plans but actually wants to fashion over-the-top disorder for a township. It’s dreadful and he actually kidnaps Rob, but thanks to his convincing followers, everyone thinks he killed Rob’s mom instead.
Brothers Brick portrayed by Clayne Crawford, McQueen Travis Fimmel, and Lincoln Daniel Cudmore are saber-rattling buffoons engaging in racist treachery while killing on the orders of a backwater sheriff Andre Braugher. They do things like saying ‘let’s git with th’ gittin’ and frequently chewing tobacco which in this film is classified as acting. This charmingly devil-may-care attitude is beloved by Battles, but the most tolerant of viewers will only be able to stand Lincoln, a hulking mute who is a disguise for wishful thinking.
While traveling from Alabama to Thornton’s compound in Texas, these idiots are accosted by the most farcical gangs out there. Hit-taste ‘chick’ feminists, a group of Latino survivalists, and black road warrior wannabes all attacked them in increasingly ridiculous showdowns. Admittedly, the camerawork is abysmal. Filter maniac DP David McFarland uses an unbearable palette made of dirt and urine.
The Baytown Outlaws is yet another attempt by writer and director Barry Battles to play with sleaze for commercial gain and it does work (in parts) to some degree especially when it concerns regional focus and attention to the local dialect but more often than not this film, an unrestrained ultra-violent piece of art, is more of a collage of pop culture references to Evil Dead, The Dukes of Hazzard and Quentin Tarantino’s masterpieces. These references without there being any cohesive narrative will surely result in chaos.
This plot of the feather-brained movie On the Road takes us through the lives of the crazy Oodie brothers, the cousins’ trio of rednecks turned mercenaries led by Brick (Clayne Crawford), mute Hulk Lincoln (Daniel Cudmore), and the very slow McQueen (Travis Fimmel). After a hit gone terribly wrong, they witness a Celeste (Eva Longoria) a woman who must save her godson from her ex-husband Carlos (Billy Bob Thornton)
blackmailing them into rescuing him from his murderous vice lord. Following the chaotic rescue attempt, the savage red-necks try to escape to Alabama, using the vice lord’s allies as fuel for the fire.
The abrupt change from mindless action comedy to a movie that tries a little too hard to show the audience how important parenthood and responsibility clearly do not align with the main objective of squishing as many Lynard Skynard songs, along with car chases, as they can in 98 minutes. The Baytown Outlaws, on the other hand, does have some good elements to it, such as the digital cinematography which is sharp and accurate, avoiding the awful ‘realistic’ setting that is often connected with post-grindhouse style and the fragile style which is almost always achieved in post-production. In addition, even though he has little screen time, the actor’s name gleefully expands an otherwise flat character, showing us his comical self. He adds over a top Southern accent, and in general loses control, delivering a much-needed sense of hysteria to the film which serves as relief from Battles’s forced seriousness.
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