By Michael Fox
Frankie has a few stops he wants to make first, and the stage is set for a succession of low-key, ambiguous reunions. We get the gist of his and Irene's lengthy up-and-down relationship through flashbacks, mostly, imbuing the narrative with understated yet soulful notes of regret, hurt, forgiveness and love. Barking Water suffers from uneven performances and an underwritten script; Harjo relies a bit too much on the plaintive, six-string musings of various indie singer-songwriters to fill the soundtrack and supply the words. And yet, despite those weaknesses, we feel as we're been granted entrée to a largely invisible subculture.