ou don’t even know what I’ve been through!” Adorned in a stained wifebeater, numerous bruises, and a black eye, Mikey Saber (Simon Rex) exits a bus and knocks on the door of an ex, Lexi (Bree Elrod), begging for a place to crash for a couple of nights. But Lexi (who is actually still married to Mikey), along with her mother Lil (Brenda Deiss), are far from pleased to see him. And the last decade or so in the adult film industry (2,000 movies, 6 awards, and other recognitions) makes starting the next chapter in Mikey’s life rather difficult; in Texas City, no one will give him a job, once they discover his lack of work history and his sordid past.

“I have a feeling there’s a whole lot more to this story.” Although Mikey has a seemingly positive attitude and appears to want to move forward with his life, he’s perpetually drawn toward bad decisions, even if they’re generally the only ones available. His options are clearly limited; pulling away from poverty, drugs, and other poor influences is certainly an uphill battle. And when he spies an attractive, uncomfortably young, redheaded girl (Suzanna Son) at the local Donut Hole, he’s bound to pursue yet another risky endeavor.

Although it’s a character study, Saber’s persona isn’t that complex – he’s not necessarily the type worthy of an entire feature film, though Rex offers up a tremendous performance. He’s not completely unlikable, but his actions are entirely selfish; whether he’s making money or seducing women, his behaviors are disingenuous and his motives are suspect. Hustling in every aspect of his life is essentially his only modus operandi, while misguided egotism governs his conduct (he’s also hardly immune to blaming others for his faults and manipulating those around him, oftentimes in hypocritical manners).

With an unavoidably melancholy vibe, there’s also the discomforting sense that everything is going to come crashing down spectacularly – or catastrophically. In many ways, “Red Rocket” mirrors an earlier film from this year, “Zola,” which charts a train-wreck road-trip path that spirals out of control, though the satisfaction and humor here aren’t nearly as effective. There’s also notes on Saber’s career lending to general societal abandonment; like in “The Wrestler,” longterm wellbeing isn’t easily accommodated in this rarely-theatrically-explored profession.

It’s intermittently funny (rarely laugh-out-loud so), but the natural dialogue and the use of non-actors (and convincing supporting performances who are superbly cast) imparts a distinct sadness to the series of dramatic ordeals – surely aided by the subtle political background of the 2016 election cycle. Marginal successes never feel good, as they’re plagued by the inevitable consequences of terrible people doing terrible things; contentedness was never an option. Like a classic tragedy populated by modern roles (unglamorous as they may be – and a reflection of realistic components of society), these characters are doomed to fail, particularly with the lead dragging others down with him in his quest to control and shape his destiny. Ultimately, the journey is entertaining, but it’s far too long, meandering frequently, and serving more as an observation than a complete tale, concluding on a less-than-satisfactory note (following along with the director’s go-to ambiguity), even if it’s appropriate for Saber’s extreme level of questionable antihero.

– Mike Massie