William Wages’ “The Neon Highway” is all about second chances, the rekindling of an urge to go grab it, and the immense faith in oneself it takes to actually pull it off. Against one’s expectation, this is very much a collaborative process, not a solitary, ego-fulfilling journey. To try out another time a shot at deferred desires and dreams demand courage, perseverance and ambition. It also necessitates an audacity of spirit that is willing to go the extra mile and push beyond conventional rhythms of steering life. It is to be cognizant of probable failure but not excessively and warily guarding against heartbreak. An openness to disappointment and betrayal is as crucial to this precarious, uncertain journey, where the rate of stumbling outmatches that of earning a massive breakthrough.
Any narrative about second chances has to or at least should incorporate an awareness of these emotional and internal reflections and reckonings. It is a journey where the stakes are high. One can be easily upset by the likelihood of loss and defeat but must steel and surge forth without being bogged down by the prospect of not seeing an aimed project through to the light of day. Wayne (Rob Mayers) and Lloyd (T.J. Power) are brothers who are both besotted with an inclination to chart musical careers. We first meet them as youngsters, full of idealism and thrusting ambition. They are all raring to go until they have a major accident.
All of a sudden, all of their dreams are put on the back burner. They are compelled to forget it all. The film cuts a few years into the future. Wayne isn’t on good terms with his brothers. It’s Wayne’s perspective that mainly guides us through the narrative. He has a family whom he supports through a regular job that clearly gives him no joy. It is when he meets yesteryear musical sensation, Claude Allen ( Beau Bridges), his stalled dreams get a revivifying jolt. Claude listens to one of Wayne’s songs and insists they must set out and produce a record. He is insistent that Wayne’s song has all the makings of a chartbuster. Wayne isn’t so sure. Initially, he balks, but as Claude keeps egging him on, he starts to reconsider. Getting the tacit support of his wife, the two embark on turning the dream into reality.
It is also a wish fulfillment for Claude, who hasn’t been in the business for decades. That doesn’t stunt his lively confidence that his friends and familiar faces in the industry would unanimously turn up to prop him up with abundant support and encouragement and dole out all sorts of free opportunities. Wayne trusts Claude perhaps too much as he slowly comes to discover his peril. Claude is also eager to hog credit, and his unreliability emerges to the fore. He is super eager to get a taste of the art that he once mastered and has long drifted away from. The instant groundswell of enthusiasm and support on his return is also nowhere to be found, except for a handful of kind friends who are pleased to see him re-energized about something after ages.
“The Neon Highway” is one of those modest efforts that has fairly competent performances across the board. It isn’t actively bad but doesn’t stick the landing as being remotely memorable. You exactly know where it’s all going. Of course, an ex-flame pops up. The screenplay also doesn’t care to etch out any striking supporting characters, either. Having sincerity in spades is a visible component; nevertheless, that doesn’t distinguish a work of art as being truly propulsive.
Bridges summons full conviction, perhaps a tad too much given the film ultimately feels more dulled than throb with any bustling tension of rejection and annoyance. It also doesn’t help that there’s a last-minute switch that’s hardly believable, solely designed to put a merry little smile on everyone’s face and send them home with satisfaction on the actualizing of dreams despite being deferred by years.
