NAKED SINGULARITY (2021)

August 5, 2021

Greetings again from the darkness. After co-writing the screenplay (adapted from the Stephen King book) for the box office horror hit IT (2017), Chase Palmer gets his first opportunity to direct a feature film. He also co-wrote this screenplay with David Matthews, as the two have adapted the 2008 novel “A Naked Singularity” by Sergio De La Pava. Think of it as a meaning-of-life science fiction comedy drama heist film that critiques the justice system. You know what they say about trying to be all things to all people. But it does get bonus points for trying hard!

John Boyega (Finn in the STAR WARS movies) stars as Casi, a Public Defender who is exasperated with the NYC criminal court system. Casi is overworked and underpaid, and his heart of gold and frumpy suit matter little in his courtroom clashes with Judge Cymbeline (Linda Lavin, “Alice”), who thrives on antagonizing and baiting the young attorney. Casi’s early idealism has faded and now he’s just fed up, looking for a way out. The talented Olivia Cooke (SOUND OF METAL, 2020) co-stars as Lea, a bored clerk at a city impound lot. Lea is a previous client of Casi’s and they cross paths again when his lawyer friend Dane (Bill Skarsgard, Pennywise in IT) passes along a file for her latest case.

There are basically three stories going on here: First, Casi is (unsuccessfully) fighting the bias in the halls of justice. Second, there is a weird glitch in the matrix, referred to as a “ripple” by Casi’s stoner friend Angus (Tim Blake Nelson), who works out physics problems on the wall of his apartment. And third, there is a botched drug deal featuring creepy hoodlum Craig (Ed Skrein, DEADPOOL, 2016), who has dragged Lea right into his web of crime. Of course, Lea already had a criminal record, and she’s frustrated that the system penalizes her for the past … leaving her with lousy options for employment. She’s too is looking for a way out.

As the film begins, director Palmer includes a quote from Candide: “If this is the best possible world, what then are the others?” This goes directly to the dreamers – those who imagine escaping their situation, and those who imagine making it better. Act 3 becomes a heist film, but we miss out on the fun part, as the planning just seems to happen. When the big day arrives, some things go right, and some things go wrong. Mostly, it’s an unrealistic chain of events that involves every character listed above, plus The Golem (Kyle Mooney) as the leader of the drug-dealing Hasidic Jews, a couple of NYC Detectives, and a Mexican cartel boss, who raises eyebrows outbidding Craig for the Navigator where the drugs are stashed. It seems fairly likely that Lincoln contributed to the film’s production since “Navigator” is mentioned numerous times.

Director Palmer utilizes a countdown to the big event … assuming the “ripple” wouldn’t be considered a bigger event … and that provides the odd pacing for the film. Also odd is the inclusion of a Popeye Doyle reference, when it’s quite unlikely that these characters would be familiar with THE FRENCH CONNECTION. Additionally, it’s the unnatural dialogue and the wedged-in social commentary that come across as misplaced. Comparing being poor to slavery in a five second scene makes it appear the goal was to fit in as many social issues as possible within a 90 minute run time. Sometimes weird is interesting. Sometimes it’s just weird. Sometimes it’s just kind of meh.

Screen Media will release NAKED SINGULARITY in select theaters on August 6th as well as opening wide and on demand August 13th, 2021

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Posted by David Ferguson

TWIST (2021)

July 29, 2021

Greetings again from the darkness. This is billed as “a modern take on the classic tale of Oliver Twist”. The problem with that is this feels neither modern, nor in line with the renowned Charles Dickins novel. Mostly it feels like a failed attempt at copying Guy Ritchie’s SNATCH, or the KINGSMAN movies, or even the NOW YOU SEE ME movies. Directed by Martin Owen with a script by John Wrathall, Sally Collett and six other credited contributing writers (in addition to the inspiration from Dickens), this film simply lacks the entertainment value necessary for any type of positive recommendation. So I won’t be writing much here, only addressing what we see on screen.

Raff Law (Jude Law’s son) nabbed his first starring role as Twist, a street artist living on his own. One day he stumbles into Dodge (Rita Ora), Batesy (Franz Drameh), and Red (Sophie Simnett) who introduce him to Fagin (two-time Oscar winner Michael Caine), who presides over this group of criminal misfits. The offer of free clothes, decent housing, a team to work with, and a possible romance, is enough to entice Twist out of his rooftop tent.

This is really a simple art heist movie with multiple scenes of parkour included in place of real danger or creative thrills. David Walliams plays the target, and as a bonus, ripping him off would settle an old score for Fagin, and the over-the-top psychopath Sikes (Lena Headey). Somehow out of step in a movie with no real step is a recurring gag featuring a traffic cop played by Leigh Warden. It’s unclear if this was held over from an early slapstick version of the film, or if it was intended to portray Twist as an outlaw.

Noel Clark maintains his dignity as Detective Brownlow, and Ms. Headey attempts to liven things up, but mostly the characters are forgettable due to an all too simple story and a lack of development. The annoying music doesn’t help, and neither does the lack of any insightful social commentary (a Dickens specialty). It seems obvious the filmmakers were trying to create something edgy and modern, and go so far as to open with a jab at Carol Reed’s 1968 musical OLIVER!, by having narrator Twist state there will be ‘No singing. No dancing. And no happy ending.’ If a filmmaker risks re-making or re-imagining a classic story, they must be ready for the comparisons. This one falls well short of that 1968 version, as well as David Lean’s 1948 OLIVER TWIST, with Alec Guinness as Fagin.

In theaters and On Demand starting July 30, 2021

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Posted by David Ferguson

FIRST DATE (2021)

July 1, 2021

Greetings again from the darkness. This is the first feature film for co-writers and co-directors Manuel Crosby and Darren Knapp. Despite mixed reactions from its Sundance Film Festival premiere, it’s safe to say that this madcap action-comedy-romance-crime drama provides enough to set the stage for additional projects from the filmmakers. It likely works best as midnight fare, but the film juggles multiple genres and tonal shifts well enough that most will find it at least watchable, if not quite entertaining.

Tyson Brown (his first feature film) stars as Mike, a meek teenager too shy to ask his kickboxing neighbor Kelsey (Shelby Duclos, also her first feature film) on a date. When Mike’s boisterous good friend Brett (Josh Fesler) forces his hand, Mike is surprised when Kelsey accepts … setting off a wild chain of events and comedy of errors featuring a whole host of looney characters. But first, Mike has to find a car to drive, or there will be no picking up Kelsey at 7pm.

Mike buys a $300 1965 Chrysler from a shady dude named Dennis (Scott Noble). Now, Dennis is a natural scammer, but there is another reason Mike’s newly purchased clunker is attracting the attention of drug dealers and corrupt cops. Mike and Kelsey’s first date gets delayed a bit due to all the chaos, and Kelsey briefly ends up in the front seat of the Porsche belonging to local stud Chet (Brandon Kraus). Two local cops played by Nicole Berry and Samuel Adamola have multiple run-ins with Mike, each with terrific comic flair courtesy of Ms. Berry. Walking the line between comedy and danger is the crime gang who spend less time chasing Mike’s car and more time on their book club – “Of Mice and Men” generating quite the debate. It’s like a bumbling character convention came to town.

Filmmakers Crosby and Knapp deliver a frenzied opening scene to try and prepare us for what’s coming. There are a few scenes that drag a bit, but for the most part, the pacing is pretty solid and the mixture of laughs and danger is well managed. Calling 8-tracks the vinyl of car radio is pure genius, and once things go awry, it’s no-holds-barred. The big shootout reminds of FREE FIRE (2016), while the zaniness recalls such films as ADVENTURES IN BABYSITTING (1987), AFTER HOURS (1985), and TRUE ROMANCE (1993).

The supporting cast includes Jesse Janzen, Ryan Quinn Adams, Jake Howard, and Samantha Laurenti, and Nicole Berry is quite the scene stealer as Police Sgt Davis. Tyson Brown is spot on as the deadpan Mike whose only talents seem to be misplacing his phone and staying alive, while Shelby Duclos leaves us wishing her Kelsey had significantly more screen time. We can debate whether it’s best to get caught by drug dealers or corrupt cops, and the comedy of errors is sometimes less funny and more dangerous, but that pinch of teen romance keeps the film grounded and personal.

In theaters and On Demand beginning July 2, 2021

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Posted by David Ferguson

@ZOLA

July 1, 2021

Greetings again from the darkness. As far as I can tell, this is the first feature film based on an actual Twitter thread. Writer-director Janicza Bravo (LEMON, 2017) works with co-writers Jeremy O Harris and the real life Zola, A’Ziah King to mold the viral 148 Tweets (#TheStory) from 2015 into a somewhat coherent film that may just provide a bit more insight into the social media world than we’d prefer in one sitting. A24 movie studio proves yet again their original, creative, and unique films are unapologetically outside the industry norm … and they are generating quite a loyal following because of it.

Taylour Paige (Dussy Mae in MA RAINEY’S BLACK BOTTOM, 2020) stars as Zola, a waitress with perfect certain “features” according to one of her customers. Zola and Stefani (played by Riley Keough, Elvis’ granddaughter who continues to build a strong and diverse resume, including a standout performance in AMERICAN HONEY, 2016), have an instant connection, and the next day they are off on a road trip to Florida to make big bucks dancing at exotic clubs. Accompanying them are X (Colman Domingo, Cutler in MA RAINEY’S BLACK BOTTOM, 2020), and Derrek (Nicolas Braun, “Succession”), Stefani’s doofus boyfriend.

Be forewarned: this is not the zany female buddy comedy the trailer teases. It’s a dark, twisted comedy laced with dangerous situations and violence. While Zola was led to believe this was a dancing trip for real cash, it turns out X is really Stefani’s pimp, and though Zola stands firm in not taking the sex for cash route, she’s prevented from leaving by a forceful X, no longer the charmer she first encountered. Zola’s wise-to-the-world ways allows her to assist Stefani in upping her cash flow, but things go wrong when Derrek socializes outside the group.

After the infamous Twitter thread, “Rolling Stone” writer David Kushner published an article entitled, “Zola Tells All: The Real Story Behind the Greatest Stripper Saga ever Tweeted”. This is an alternate universe to many of us, though it’s pulled from the “pages” of today’s online culture. Much of the dialogue is in Twitter-speak, and the new Tweet ding is used to emphasize certain spoken lines (think rim shots). Director Bravo instills the “B-word” at the same pace that Tarantino uses the F-word, and it should be noted that both actresses are terrific. Ms. Keough will likely make you laugh, while simultaneously making you uncomfortable. It’s a case study in cultural appropriation – especially her dialect, which is purposefully offensive. We aren’t accustomed to seeing this type of humor these days, but Keough is to be commended for going all in. Ms. Paige’s performance is much different, but no less impactful as her Zola tries to make the best of a horrible situation.

This is a wild story with characters I can only hope you don’t recognize from your own life. It begs the question, what kind of relationships arise from social media? We go a bit deeper on Zola, but really we don’t know much about these people. They are as deep as social media allows, while also serving up a warning to those who might somehow believe internet interactions are anonymous and harmless.

Now showing in theaters nationwide.

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Posted by David Ferguson

THE MAN IN THE HAT (2021)

May 12, 2021

Greetings again from the darkness. Who is the woman in the picture? What did the five men toss in the river? Why are those men chasing the man in the hat? Why is that other man wet? If the man in the hat is running from the five men, why does he keep running into the same people? What are those two measuring now? Why doesn’t anyone (ok, almost no one) speak? Why are there so many questions, and why, by the end, do we not care that most go unanswered?

John-Paul Davidson, known mostly as a travel documentarian, and Stephen Warbeck, an Oscar-winning composer, have teamed up as co-directors and co-writers to deliver an unusual and whimsical road trip movie that tips a cap to the silent comedy films of yesteryear. Adding to the unusual elements is Ciaran Hinds starring as the titular man in the hat. Mr. Hinds is a long-time terrific actor, but not one we think of for jocular comedies requiring exaggerated facial expressions, physical pratfalls, and squeezing into a tiny Fiat for a back roads drive through rural France.

As the film opens, the man in the hat spends the day sharing a table with the woman’s photo at a charming riverside café. That evening, while still seated at the table, he witnesses 5 grown men pile out of a clown car Citroen and dump what appears to be a body into the river. The man escapes with the framed photo and one of the film’s recurring gags is the close calls he has with the five men as they drive through the countryside. The film plays a bit like Homer’s Odyssey in that the only real story occurs as the man interacts with various folks he meets along the way. The Damp Man is played by the always interesting Stephen Dillane, and a lovely woman on a bicycle who exchanges flirtations with hat man is played by Sasha Hails.

Among the strange and wacky paths that cross are a couple of onion-chomping geezers who fix his car, a cluster of singing female mechanics, a solo French biker, and a pair of city workers with a measuring tape and eyes for each other. Music plays a huge role here, which is not surprising given the presence of Mr. Warbeck. Not only does the accompanying music feature an unusual and varied blend of music types, but we also see and hear many local musicians, including Mathilda Homer. And for the finale, music again plays a role, bringing things full circle.

Coming up with a comparison movie is not easy, though one description could be director Michael Winterbottom’s “The Trip” franchise … if Steve Coogan and Rob Brydon were not allowed to speak! This isn’t a laugh out loud type of comedy, rather it’s mostly just pleasant and odd. For a drive through rural France or a chance to watch Ciaran Hinds chase his shoe down a drain, this bizarre little ditty from Davidson and Warbeck will work just fine.

In theaters and on demand on May 14, 2021

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Posted by David Ferguson

LIMBO (2021)

April 29, 2021

Greetings again from the darkness. Immigration is an important and hot topic these days, and it should be noted that most countries have challenges with people either trying to get in or trying to get out … and for some, it’s both. Writer-director Ben Sharrock offers a unique and creative look at refugees stuck on a nameless remote Scottish island, awaiting word on their UK asylum request.

Omar (Amir El-Masry, Tom Clancy’s “Jack Ryan” TV series) has escaped the war in Syria, and we learn much about him from listening in on calls to his mother from the only phone booth on the island. An acclaimed musician in Damascus, Omar lugs around his grandfather’s oud (“it’s like a guitar”). As proof of his homesickness, the bulky case never leaves his side, nor does he pull the instrument out to play – music is meant for joyous occasions. Omar shares a small house with three other refugees: Farhad (Vikash Bhai) from Afghanistan, Abedi (Kwabena Ansah) from Ghana, and Wasef (Ola Orebiyi) from Nigeria, with the latter two posing as brothers in hopes of improving their odds for asylum.

Omar is a sullen stone-face who absorbs the racist taunts from young locals (they ask if he makes bombs), and stands in contrast to the more outgoing and optimistic (and darn funny) Farhad. Not only does he idolize Freddie Mercury for “teaching” him English, Farhad, with his ever-present cigarette, also captures a chicken and keeps it as a pet. These refugees regularly attend a class entitled “Cultural Awareness 101”, meant to acclimate those from varying backgrounds to the local customs and culture. These segments are mined beautifully for comedic effect, while also giving us insight into all those involved. There are also references to Chet Baker, Donnie Osmond, and the TV series, “Friends”.

This is a terrific film, as well as an odd one. Many of the shots from cinematographer Nick Cooke are static and sparse in style, and though focused on the individuals, the camera also captures much of the isolation of the island. These visuals are stunning in both their simplicity and relevance. It’s a dramedy unafraid to be absurd in a moment, while also being enlightening. At times it has the feel of Wes Anderson without the color palette. We aren’t sure what is worse, the weather or the local postal service. Brutal cold envelops the newcomers, while the delivery route of a postal van (and the reactions of the refugees) is a comedic highlight. Even the local market, with its limited spice selection and directions for urination, draws laughter from us.

Despite the comedy, we never lose sight of these folks being stuck in purgatory. Maybe it’s not true camaraderie, but they seem to take some comfort in numbers as they wait. Omar is carrying guilt and feelings of inadequacy as he chose to leave while his older brother Nabil (Kais Nashif) remained in Syria to fight in the war. There is a wonderful “scene” that allows Omar to make peace with their contrasting decisions, and it leads him back to playing music. After all, “a musician who doesn’t play is dead”. The titular term of Limbo often means stuck, and there is also a game of persistence that uses that name, and both definitions work here. We are reminded that regardless of the various cultures, those in the immigration system have their own personal stories and burdens.

Opens in theaters on April 30, 2021

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Posted by David Ferguson

WE BROKE UP (2021)

April 22, 2021

Greetings again from the darkness. They’ve been together for 10 years, and when Doug proposes – seemingly spontaneously – to Lori, her reaction is ‘slightly’ askew from what he expected. The real question here is, how do two people have a 10 year romantic relationship and never once discuss marriage, kids, a house, or literally anything to do with their future? That’s the premise for the dramedy from writer director Jeff Rosenberg and co-writer Laura Jacqmin.

Aya Cash (“Fosse/Verdon” and a Jodie Whitaker lookalike) stars as Lori, longtime girlfriend of Doug, played by William Jackson Harper (MIDSOMMAR, 2019). If the proposal-gone-wrong and subsequent fallout weren’t uncomfortable enough, the timing couldn’t be much worse. Lori and Doug are scheduled to leave for her sister’s wedding, and both have roles in the wedding party … he’s “King of the Ushers”. Since staying away is not an option, the dilemma they face is whether to announce the break-up or pretend everything is fine until the vows are exchanged. They decide not to spoil the wedding and head off to Camp Arrowhead, the former summer camp site that the wedding couple selected for the ceremony.

Sarah Bolger (IN AMERICA, 2002) plays Bea, Lori’s betrothed sister. She’s been dating Jayson (Tony Cavalero, “School of Rock” TV series) for a whole month, and the two energetic free-spirits are total personality opposites from Lori and Doug. As mother of the two girls, Peri Gilpin (“Frasier”) is a tad less than supportive of her daughter’s spontaneous life decisions, while initially clueless to the difficulties faced by her stable and dependable daughter.

The film is well acted by the leads, but most of it feels like a missed opportunity to explore the psychological differences of the sisters or the effects of a long-term “comfortable” relationship with no eye towards the future. Both of the topics are begging for more in-depth coverage, and instead we are left with mostly predictable behavior. One couple that is too fast to the altar, while the other is too slow, presents a goldmine of opportunity. On the bright side, there are some small moments and subtle jokes and gags that are beautifully executed and work much better than the overall comedy efforts. Filmed at Calamigos Ranch in Malibu, the film touches on anger and hurt and excitement, and all emotions attached to love and relationships.

In theaters and On Demand April 23, 2021

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Posted by David Ferguson

DEADLY CUTS (2021, Ireland)

April 15, 2021

Greetings again from the darkness. If we have to depend on Dublin filmmaking for the year’s first stellar comedy, then so be it. This is the first feature film from writer-director Rachel Carey, but it certainly won’t be the last. Somehow she’s created a black and blue comedy that plays like a mash-up of ZOOLANDER (2001) and BLOW THE MAN DOWN (2018), two films I feel sure had not previously been mentioned in the same sentence.

Piglinstown is a small, working class community in Dublin … the metaphorical ‘other side of the tracks’. Michelle (Angeline Ball, THE COMMITMENTS, 1991) runs the salon, and is just one of the local business being threatened by gang activity and gentrification driven by greedy politicians. Michelle’s staff includes Stacey (Erika Roe, HERSELF, 2020), a stylist who believes winning an upcoming competition can not only save the salon, but also her dreams of finally being accepted by the mother that deserted her many years ago; Gemma (Lauren Larkin), the in-house amateur psychologist and therapist; and Chantelle (Shauna Higgins, “Red Rock”), a socially awkward wizard with hair color. It’s a motley crew of women who are stronger than they think, and display a camaraderie that defines small business and small towns.

The ladies embrace the upcoming “Ahh Hair” competition as their road to salvation, where a win would boost the salon’s reputation and make tearing the shop down for luxury apartments an unthinkable act. The problem is that the annual competition is consistently won by the posh shop where Michelle once worked before a catastrophic on stage occurrence many years ago. The high end shop is now run by her hilariously intimidating rival Pippa (Victoria Smurfit, “Marcella”). This becomes a bit of a parody of class distinction between Dublin’s north and south side.

But there is much more here than the hair styling competition. Some of the grit of the working class rears its head one evening when the gang leader threatens the ladies of the salon. One thing leads to another and soon the shop has earned its name, “Deadly Cuts.” Although crime and violence play a role here, the gore is minimal and mostly occurs off screen, and even packs its own level of humor. Ms. Carey loads up her script with a slew of one-liners, each expertly delivered by a cast that embraces the cinematic lampoon. “The hair tongs are heating up” is merely one example of what is broadcast by FAD TV during the competition. For a rollicking good time, check this one out … though you may need the closed captions unless your ears are in full Irish mode.

Featured at the 2021 Seattle International Film Festival

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Posted by David Ferguson

SAY YOUR PRAYERS (2021)

April 1, 2021

Greetings again from the darkness. The brothers have chosen to accept the mission they’ve been given, which is to assassinate outspoken atheist writer, Professor John Huxley. The deed is to be done during the Ilkley Literature Festival where Huxley is a featured speaker. Brothers Victor and Tim are Christian radicals, and not particularly clever. In fact, the terrific opening sequence shows us an execution on a hill – one that displays the tragic effects of mistaken identity.

Writer-director Harry Michell (he played Nick in YESTERDAY, 2019) and co-writer Jamie Fraser (his first feature film) deliver a strong first act that really gets our hopes up. Tom Brooke (PIRATE RADIO, 2009) plays Victor, the high-strung older brother to Tim, who is played by ski cap-wearing Harry Melling (the “Harry Potter” franchise). Victor is prone to violent outbursts, while Tim is the more sensitive type – and a bit slow at times. That contrast between the brothers is a fun element, as is the close bond they share.

Director Michell utilizes a recurring men’s choir (breaking the fourth wall) as a way to both drive the story and add a bit of humor. In the first half-hour, the two most obvious comparisons we make are THE BOONDOCK SAINTS (1999) and IN BRUGES (2008). Unfortunately, that’s a standard that the film simply can’t sustain. It seems to be filled with any number of promising ideas that mostly just fizzle or fade out. A perfect example is the dynamic between the two investigative cops played by Anna Maxwell Martin and Flora Spencer-Longhurst. The banter between these two characters is just never quite as colorful or pointed as we wish.

The supporting cast includes Vinette Robinson as Imelda, one of the festivals organizers who has a close relationship with Professor Huxley. Imelda’s time with Tim works well at times. Roger Allum effectively portrays the arrogant atheist author, and Derek Jacobi plays Father Enoch, the priest who raised the two orphans, Tim and Victor, and now has them doing the church’s dirty work. The real standout here is the film’s editing by Xanna Ward Dixon and Dylan Holmes Williams. The pacing and quick cuts keep us engaged and minimize the shortcomings of the story … which certainly could have worked with more risk-taking and pushing of the envelope. Not going far enough is film’s downfall – and it’s quite disappointing given the promising start.

In theaters and On Demand April 2, 2021

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Posted by David Ferguson

HAPPILY (2021)

March 19, 2021

 Greetings again from the darkness. Most frequent movie-goers have complained about the over-supply of sequels, remakes, and superhero movies. The battle cry is typically something like, “We want some creative new movie ideas!” Well, the feature film debut of writer-director BenDavid Grabinski (writer-producer of TV series “Are You Afraid of the Dark?”) serves up a unique and creative premise in which Act 1 really gets us excited for new experience.

There’s a party at a very nice house. A woman makes inviting eye contact with a man across the room. Their spontaneous sex romp forces Arthur (Al Madrigal, “I’m Dying Up Here”) to find an alternative place for relief. Soon the hosts are explaining to Arthur that the bathroom is tied up by Tom (Joel McHale, “Community”) and Janet (Kerry Bishe, “Penny Dreadful: City of Angels”), a couple who has been married for 14 years, yet they can’t keep their hands off each other. Skeptical Arthur states it must be an act, and “they are as miserable as everyone else.”

We quickly discover that Tom and Janet are neither acting nor miserable. Dinner with the hosts of that ‘bathroom’ party, Karen (Natalie Zea, “Justified”) and Val (Paul Scheer, “The League”), brings a disinvite to a planned couples weekend getaway, along with the brusque enlightenment to Tom and Janet, “everybody hates you.” The next day, a stranger shows up at their front door. Goodman (Stephen Root, OFFICE SPACE, 1999) basically explains the couple is defective and missing the genetic DNA that creates the law of diminishing returns. Fortunately, he has the vaccine that will bring them normalcy. A dramatic turn of events leads to panic and a phone call from Karen re-inviting the couple to the weekend getaway.

That initial set-up is brilliant and played to perfection. Unfortunately, the rest of the movie doesn’t live up to that standard. Things begin to falter once the couples begin showing up at the luxurious Airbnb booked by Patricia (Natalie Morales, BATTLE OF THE SEXES, 2017) and her husband, Donald, (Jon Daly, MASTERMINDS, 2016). The other two couples include Carla (Shannon Woodward, ODE TO JOY, 2019) and Maude (Kirby Howell Baptiste, “Barry”), and Gretel (Charlene Yi, THIS IS 40, 2012) and Richard (Breckin Meyer, ROAD TRIP, 2000). Until this point, we kind of liked Tom and Janet, and got a kick out of the annoyance shown by Karen and Val. However, once everyone is under the same roof, we realize just how unlikable these people are and how screwed up each relationship actually is. The smart dark comedy of Act 1 devolves into a party that we wish we weren’t at, with a twist that makes little sense.

It’s fun to see the familiar faces, and McHale and Biche are fun, but the hope we felt for that creative beginning never pays off. There is a “Twilight Zone” vibe to the premise and the Stranger, but even that is a letdown. The message the movie leaves us with is that people aren’t all good. It’s a message we live every day, not one for a comedy.

In theaters, on digital, and On Demand March 19, 2021

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Posted by David Ferguson

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