BENEATH THE LEAVES (2019)

February 9, 2019

 Greetings again from the darkness. It doesn’t happen often, so it’s probably kind of fun for them when a father and daughter are able to appear in the same film. This is writer-director Adam Marino’s first feature film, and he cast Paul Sorvino and Mira Sorvino not as father-daughter, but as Police Captain and Detective. The script, co-written by Marino, Naman Barsoon, Daniel Wallner, and Mark Andrew Wilson treads familiar, yet usually interesting ground … a crime topic covered previously by numerous TV shows and movies.

The film opens with an abusive father (Don Swayze) doing despicable things to his young son and daughter, before the two of them take action against him. We then flash forward to a prison escape that occurred after a fire is set. One of the escapees is an especially demented psychopath with a trait that ties the story back into the opening sequence. What follows is a whodunit police procedural that focuses on Detective Erica Shotwell (Oscar winner Ms. Sorvino) and the four boys who survived their encounter with the twisted prison escapee some 15 years ago. Doug Jones plays James Whitley, the prison escapee returning to finish the job on the 4 that got away. Mr. Jones is best known for his fabulous “creature” work in THE SHAPE OF WATER and PAN’S LABRYNTH.

The four boys, now grown men, are played by Ser’Darius Blain, Christopher Backus, Christopher Masterson, and Kristopher Polaha, the latter of which is now Detective Shotwell’s partner … though, against his vociferous protests, is prohibited by the Chief from working the case that he is oh-so-close to. Also providing support work are Melora Walters, Jena Sims, and fingernails in general. Director Marino’s film is mostly B-level material, and actually much milder than what we see on many TV shows these days. It does, however, reinforce the notion that screwed up kids quite frequently grow into screwed up adults.

watch the trailer:

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Posted by David Ferguson

HIGH FLYING BIRD (2019)

February 6, 2019

 Greetings again from the darkness. Steven Soderbergh has won an Oscar for Best Director (TRAFFIC, 2002) and is one of the filmmakers who has enjoyed both Box Office success (the “Oceans” franchise) and critical acclaim (SEX, LIES, AND VIDEOTAPE, 1989). He has also been behind some quite creative TV projects (“The Knick”, “Godless”), as well as many technical advancements in the industry. This latest is his second consecutive film to be shot entirely with an iPhone (UNSANE, 2018). Bluntly stated, Mr. Soderbergh beats his own drum.

Oscar winner Tarell Alvin McRaney (MOONLIGHT) wrote the script and a talented cast allowed filming to be completed in only 3 weeks … a remarkably short production time for a feature film that is quite watchable and polished.  Andre Holland (also one of the film’s producers) plays Ray, a sports agent with a soul. Rarely do films portray sports agents as the smartest guy in the room, much less as one with altruistic motives. But that describes Ray – although we have our doubts at times. The film opens with Ray having a heated discussion over lunch with his newest client – hot shot rookie Erick (played by Melvyn Gregg). The NBA is in the midst of a lockout and young Erick’s top pick contract has not yet been executed … so he’s in need of funds, as is Ray and the agency he works for.

Sprinkled throughout, and serving as a framing device, are talking head shots of actual NBA players Reggie Jackson, Karl Anthony Towns and Donovan Mitchell discussing the challenges of being a rookie. Their insight and perspective adds an element of reality to the tone of the film. Zazie Beetz (DEADPOOL 2) co-stars as Sam, Ray’s assistant who constantly reminds him, “I don’t work for you anymore”, despite her exceptionally strategic maneuvering of others. Also appearing are the always interesting Bill Duke as Spencer, who runs a camp for up and coming youth players; Kyle MacLachlan as the owners’ lead negotiator; Sonja Sohn as the Players Union Rep; and Zachary Quinto as Ray’s boss.

Ray’s work behind the scenes is misinterpreted by many, but his focus is on getting the two sides to negotiate so the strike can end. During this process, the film makes an interesting statement about who owns the players’ image. Is it the league, the players’ association, or the player himself? It’s a legal and philosophical question that again crosses the line into real life. There is also a comical bit that takes aim at the business side of the league regarding selling sneakers and inspiring rap lyrics.

Reminiscent of other Soderbergh films, there is an emphasis on heavy dialogue and creative camera work, as well as some life lessons offered up along the way. “You care all the way or you don’t care at all” is a philosophy preached by Spence, and clearly leading by example is an important element to the key characters. Toss in the music of Richie Havens, and it’s quite obvious this isn’t the typical inspirational, feel-good sports movie.

available on Netflix February 8

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Posted by David Ferguson

THE LEAST OF THESE: THE GRAHAM STAINES STORY (2019)

February 3, 2019

 Greetings again from the darkness. The story of Graham Staines certainly deserves to be told, as his impact is lasting and his kindness and devotion to the cause are quite extraordinary. In fact he paid the ultimate price … actually even greater than that … for his efforts, simply because he bucked tradition and offered an alternative to folks who previously had none.

Director Aneesh Daniel and writer Andrew E Matthews present Mr. Staines’ story (based on true events), and even shot on location in India despite a limited budget. Sharman Joshi plays ambitious young journalist Manav Banerjee, who in the late 1990’s packs up his pregnant wife Shanti (Aditi Chengappa) and heads to the remote Indian town of Orissa in hopes of securing a writing job for the local newspaper. Once there, he finds no guarantees – only an editor who assigns him the nearly impossible task of procuring evidence that a local missionary is illegally converting Hindus to Christianity.

The missionary is Australian Graham Staines who, along with his wife (Shari Rigby) and 3 kids, run a camp for locals afflicted with leprosy. Staines is played by Stephen Baldwin, the youngest of the Baldwin brothers, and best known for his turn in THE USUAL SUSPECTS (1995). Baldwin and his whispered Aussie accent plays Staines as a near-Saint; one who could only be doubted by the most ferocious traditionalists (of which there are many).

Mr. Joshi plays Banerjee as a bit of creepy-stalking guy who spends a little too much time staring at others. He’s conflicted with fulfilling his assignment and discovering the truth about Staines. Banerjee’s own moment of self-preservation likely inspired the horrific event by a mob of Hindu fundamentalists that, combined with some insider information, set Banerjee straight with how to proceed and what to report. In the process, he exposes the corruption and self-interest of rural India driven by the many minds closed by religious traditions.

Director Daniel opens the film with actual footage and archival clips of unrest and turmoil from those times. As you would expect, these clips are more disturbing and provide more intense reaction than anything the movie could produce (except for maybe the horrific event noted above). The overblown and overly-dramatic music doesn’t help the presentation, yet somehow the message of kindness and forgiven is not lost.

watch the trailer:

 

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Posted by David Ferguson

CAPERNAUM (2018, Lebanon)

January 31, 2019

 Greetings again from the darkness. Rare is the film that casts a kid in the lead role and then features him in most every scene … often with only him and a toddler on screen. It’s even rarer when that kid is a first time actor, and the film gets nominated for an Oscar (Best Foreign Language film). Each of these come to pass in the latest from writer-director Nadine Labaki (CARAMEL, 2007), with a script she co-wrote with four others: Jihad Hojelly, Michelle Keserwany, Georges Khabbaz, and Khaled Mouzanar (Ms. Labaki’s husband, who also produced the film’s music).

The film opens in a courtroom setting which acts as a framing device for a story that is told mostly through flashbacks. Zain (Zain Al Rafeea) is asked by the judge why he is suing his parents. His answer: “Because I was born.” Zain is an undernourished 12 year old Lebanese slum-dweller who lives with his parents and an indeterminate number of brothers and sisters. Zain is particularly close to his 11 year old sister Sahar (Cedra Izzam), and the two work odd jobs on the streets to bring home money and food for the family. When Sahar comes of age, Zain knows this spells change, as their parents view her as little more than an asset that can be traded for chickens. When this happens, an angry Zain runs away from home.

Zain’s adventure takes him from the slums to shantytown, where a kind-hearted, poverty stricken single mom takes pity on him. Rahil (Yordanos Shiferaw) is an undocumented Ethiopian who works multiple jobs while hiding her toddler Yonas (so freaking adorable). In exchange for food and shelter, Zain agrees to babysit Yonas while Rahil works. The two young boys become like brothers, and when Rahil doesn’t return home, Zain’s street smarts kick in. He reverts to the lessons of his previous life and begins literally scrapping for scraps. His ingenuity is inspiring, as is his full-blown survival mode … all while caring diligently for Yonas.

In the courtroom, director Labaki appears as Zain’s attorney, but it’s the young actor who carries the weight of the film. He is truly remarkable to watch, whether he’s interacting with other street hustlers, conversing with “Cockroach Man” on the bus, or in that final freeze-frame ending, Zain steals our heart. The film is not dissimilar to SHOPLIFTERS, the Japanese film also nominated for Best Foreign Language Oscar this year. The title means “chaos” and it begs the question, without paperwork, do we exist to society? Ms. Labaki manages to put a pretty face on a tragic environment, and offer up a rare matter-of-fact melodrama on the hardships for children in poverty.

watch the trailer:

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Posted by David Ferguson

MISS BALA (2019)

January 31, 2019

 Greetings again from the darkness. One of the reasons I so enjoy movies is that I can usually find some positive to latch onto, even if most of the project fails to connect or generate much interest. Such is the case with this latest from director Catherine Hardwicke (the excellent THIRTEEN, 2003). Actress Gina Rodriguez (“Jane the Virgin”, ANNIHILATION) is a joy to behold as she navigates her way through one perilous situation after another.

Ms. Rodriguez plays Gloria, a southern California resident whose particular set up of skills are utilized in her work as a makeup artist. Gloria drives across the border to Tijuana in support of her friend Suzu (Cristina Rodlo) who is competing in the Miss Baja pageant. Their fun evening at the nightclub goes horribly wrong as evil-doers storm the club attempting to assassinate the director of the pageant. During the mayhem, Suzu gets kidnapped and Gloria proves for the first time (of many to come) that the film should have more accurately been titled “Miss Antibalas”. No matter the size of the shootout – and there are many – there are no bullets for Miss Bullet (Bala being Spanish for bullet).

Of course that’s not a spoiler because even in the trailer, it’s quite obvious that this remake of director Geraldo Naranjo’s 2011 Mexican movie sets out to become yet another action franchise. As a PG-13 film, it softens the edges from the original and seems to target younger viewers, possibly an attempt to empower teenage girls. It’s a worthy mission despite the disappointing execution of the first feature film screenplay from Gareth Dunnet-Alcocer.

Gloria’s attempts to rescue Suzu find her caught in a tug-of-war between Mexican crime lord Lino (Ismael Cruz Cordova, “Ray Donovan”) and the DEA task force led by Matt Lauria playing an incompetent agent. Given today’s political climate, bad guy Lino is presented as half-American and half-Mexican to quell any cries of racial stereotyping. Also appearing are Aislinn Derbez (daughter of Mexican movie star Eugenio Derbez) as Isabel, another woman caught up in Lino’s web; and Anthony Mackie in an all-too brief two scenes that seem to play into the previously mentioned franchise hopes.

Corruption, drug smuggling and human trafficking are rampant throughout. I have no personal knowledge of whether Tijuana is the lawless frontier presented here, but the focus is really on one woman’s ability to find her backbone – her inner strength – in a never-ending stream of dangerous situations. Despite the material, Ms. Rodriguez manages to hold her own and flash star quality. She is likeable and tough. On the other hand, Ms. Hardwicke’s choices beg for second-guessing – from the cheesy shootouts to the lame and too-obvious musical choices (especially at the film’s conclusion). She has certainly proven herself capable of better as a filmmaker, and will undoubtedly do so again.

watch the trailer:

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Posted by David Ferguson

BRESLIN AND HAMILL: DEADLINE ARTISTS (2019, doc)

January 27, 2019

 Greetings again from the darkness. From the department of ‘The more things change, the more they stay the same’ (a phrase attributed to French writer Jean-Baptiste Alphonse Karr), there is a segment in this documentary showing Nixon’s Vice President Spiro Agnew comments on the “evil liberal media”. The only thing missing is the now all-too-familiar catchphrase “fake news”. If, as many believe, we are in a re-run of a political cycle from that era, we should be so fortunate to have the writers and journalists of that era … specifically Jimmy Breslin and Pete Hamill.

Co-directors Jonathan Alter (political journalist and author), John Block, and Steve McCarthy are behind this HBO documentary that flashes back to a time when reading the morning newspaper was a ritual for much of the world. This was before the internet and certainly before Tweeters began presenting opinions as breaking news. At one point, the city of New York supported 7 different newspapers, and these two writers – very different in style – are forever linked to the city, to their ‘street poetry’ and to each other.

Jimmy Breslin and Pete Hamill were at various times co-workers and rivals, yet always friends … a friendship based on mutual professional respect. Pete was the more likable one, while Jimmy was the brash New Yorker – a celebrity who admittedly had enemies. The filmmakers provide a background on each, often with the writers themselves providing color commentary. Specific events from certain years are used a story structure: 1984 and Bernhard Goetz, 1989 shows our current President (30 years younger) dishing racial divisiveness via an emotional reaction, the 1963 JFK assassination and how Breslin chose to interview the man digging the grave, Vietnam in 1966, 1976 when both were employed by The New York Daily News, the letter Breslin received from Son of Sam in 1977, the same year Hamill was editor of two newspapers simultaneously, the 1985 AIDS outbreak, and the 1991 Crown Heights riots.

We learn Breslin often held court at a local bar, and that Hamill dated Jackie Onassis. Breslin’s baseball book “Can’t Anybody Play this Game?” is discussed, as is what Hamill calls “the rhythm of writing”. A 2015 interview with the two elderly men makes the bond quite obvious, and an emotional segment shows Pete and his wife recalling that tragic day on 9/11. The talking head interviews featured are many and impressive, including: the siblings, offspring and spouses of the two men; writers Tom Wolfe, Gay Talese, and Nicholas Pileggi (“Goodfellas”); performers Tony Bennett, Robert Deniro, and Shirley Maclaine (also a love interest); activist Gloria Steinem; cartoonist Gary Trudeau; and other historians, journalists, and writers.

Anne Marie is mentioned as the woman who sat between the two writers at the Daily News, and we can’t help but think she deserves her own movie, given her connections (so to speak). Breslin and Hamill derived energy and were driven by passion for their causes and observations … and their agenda was drawn from the need to get the truth told, not just the glory of a headline. The message is that local journalism is important, while today, we are allowing it fade away. Breslin is shown hunting and pecking until the end (in 2017), and it’s likely Pete will as well.

watch the trailer:

 

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Posted by David Ferguson

SERENITY (2019)

January 24, 2019

 Greetings again from the darkness. A seamless zoom shot through a young boy’s eye, a plunge into the deep blue sea, and up across the ocean onto a boat … that’s the very cool opening to writer-director Steven Knight’s latest film. It can be described as a 1990’s style noirish, murder-for-hire drama with a contemporary twist, and it features a terrific cast. Unfortunately, all of that somehow adds up to a film that never really clicks.

This is Mr. Knight’s first time in the director’s chair since the excellent LOCKE in 2013. He’s best known for his writing in such projects as “Peaky Blinders”, EASTERN PROMISES, and his Oscar nominated DIRTY PRETTY THINGS. A resume like that lends itself to certain expectations; something that makes the messiness of this one all the more surprising.

Oscar winner Matthew McConaughey stars as Baker Dill, a boat captain who runs a charter fishing business at the edge of the world – a sleepy little remote tropic village called Plymouth Island. We learn pretty quickly that Mr. Dill is a few pickles short of a jar. With customers aboard, he gets the hook in the unicorn he’s been chasing – a giant tuna he’s named Justice. It’s a frantic obsession that the locals call the fish that lives in his head. On a boat named Serenity, Captain Dill’s less appealing side is exposed as he and his first mate Duke (Djimon Hounsou) fail to reel in the mighty fish.

With the significant exception of his money woes, Dill leads a pretty calm and under the radar life on Plymouth Island. He drinks at the local bar, lives in a makeshift cliff side container by the sea, and enjoys periodic frolicking with Constance, a local beauty played by Diane Lane. We soon learn that Justice the Tuna is just the first of two things that rock the serenity of Dill’s world. The other is his ex-wife Karen (Anne Hathaway) who magically appears one night next to the bar stool he is planted on. It turns out she has tracked him down for the sole purpose of paying Dill to kill her abusive and filthy rich and thoroughly obnoxious husband Frank (Jason Clarke). It’s also during this time that Dill is being chased down by Reid Miller, a nerdy and suspicious little salesman played by Jeremy Strong.

Karen’s plot would stand no chance if not for the son they share. Patrick (Rafael Sayegh) is an odd kid whom we only see writing code at lightning speed from his home computer. It’s the Reid Miller character who clues us in on the twist; but rather than shift the movie into a higher gear, it feels like the air goes shooting out of the proverbial balloon. As shaky as the film, characters, and dialogue were, this twist turns it into a convoluted mess that changes everything we have watched to this point.

Murder for hire/love films have been done many times and in many ways. Some of the best include Hitchcock’s classic STRANGERS ON A TRAIN, Billy Wilder’s film noir masterpiece DOUBLE INDEMNITY, and Lawrence Kasdan’s steamy BODY HEAT from 1981. This film should never again be mentioned with those. Although the premise is interesting, this terrific cast certainly deserved better material. Filmed on Mauritius in the Indian Ocean, the little scenery we see are the film’s highlights. Apparently all that Mr. Knight wishes to tell us is that life is a game … and it might not end well. Not exactly breaking news.

watch the trailer:

 

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Posted by David Ferguson

WEST OF SUNSHINE (2019, Australia)

January 24, 2019

 Greetings again from the darkness. Life’s eternal mysteries include the question, how can one be a father when not yet a man? The feature film debut of writer-director Jason Raftopoulos focuses on fatherhood and the price of self-destructive behavior, while finally gathering the strength to right one’s self.

Damien Hill stars as Jim, a blue collar courier with a gambling habit that likely cost him his marriage, his previous job, and a solid relationship with his son. Jim is basically a decent guy who can’t seem to overcome his weaknesses, which leaves us judging him as a hapless dude who can’t buy a clue. The story unfolds over a single day as Jim faces a deadline from the loan shark he owes thousands. Banos (Tony Nikolakopoulos) is a scary looking guy who, in loan shark circles, would be considered relatively patient … although he has reached the breaking point with Jim.

Of course, Jim has a stellar plan to pay back the money – a “sure thing” on a horse in today’s race #2. However, there’s a blip (at least one) in his plan. His estranged wife reminds him that today is his day to look after their son Alex (Ty Perham, real life stepson to Mr. Hill). So father and son, rocky relationship and all, take off on a road trip around Melbourne as Jim proves to be one of the city’s worst couriers, and a borderline incompetent father. When Jim’s horse does in fact pay off, he makes the all-too-familiar mistake of a gambling addict … rather than pay off the debt, he tries to win more. You can surely guess how that goes.

Desperate times call for desperate measures, and the father-son team go about tracking down Jim’s old contacts in hopes one might help him through this dilemma. It should be noted that Jim and Alex are traveling in style – Jim’s classic Ford Fairlane, with quite an impactful story of its own. Support work is provided by Arthur Angel (as Jim’s friend and co-worker), Kat Stewart (a former girlfriend who runs an illicit business out of her bakery), Fay Smythe (Jim’s wife), and Eliza D’Souza (a would-be girlfriend and yet another Jim lets down).

Being a role model for a kid is not easy for someone as self-destructive as Jim. The steady stream of “I promise” and “I’m sorry” make it clear where Jim’s priorities rest. Alex wants to look up to Jim, but spends more time looking down on him. It takes a near catastrophe for Jim to wake up … a wake up that only occurs when one grows weary of always racing against the clock. Leaving the past behind – both emotionally and with a symbolic sacrifice – is Jim’s only path to redemption. Fine, naturalistic performances make these characters relatable to us, and filmmaker Raftopoulos does a nice job with keeping the pace moving along, while never losing that sense of reality.

watch the trailer:

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Posted by David Ferguson

GLASS (2019)

January 17, 2019

 Greetings again from the darkness. It’s pretty simple. If you are a fan of UNBREAKABLE (2000) and SPLIT (2016), then you need to see this finale to M. Night Shyamalan’s trilogy. If neither of the two previous films tickled your creep fancy, then you’ll likely find nothing of interest here. The biggest fear is that fans of the first two (like me) will be disappointed and frustrated (like me) by the missed opportunity. Rather than real world super abilities clashing, we get what is mostly a silly letdown.

The set-up is outstanding. David Dunn (Bruce Willis) and his now-grown son Joseph (Spencer Treat Clark) have teamed up for years in tracking down lowlife societal scumbags and teaching them a lesson. Mostly avoiding cameras (more difficult now than when he first realized his power), Dunn now has a nickname, The Overseer, and still dons his green poncho – though it’s now equipped with a headset for communication with Joseph.

The Dunn men have been tracking Kevin Wendell Crumb (with a Beetlejuice twist), who has kidnapped more teenage girls and is holding them hostage. James McAvoy returns as Kevin, and his 23 other personalities (referred to as The Horde), and early in the movie we get our first Dunn vs. The Beast battle. Unfortunately, it’s brief and ends in their capture and being locked away in an institution. And this is where the fun comes screeching to a halt.

It’s at the institution where we discover Elijah Wood/Mr. Glass (Samuel L Jackson) is also being held, and Dr Elle Staple (Sarah Paulson) is the psychologist specializing in treating those who believe they possess super human traits, be they good or evil. This misdirected plot line is our first real frustration, as we have already seen the super strength of Dunn, the massive transformation of The Beast, and the villainous mastermind of Elijah. By definition there is no suspense when we know the answer. Because of this, the entire treatment segment drags on far too long, and features entirely too much of Ms. Paulson, and too little of those we came to see.

Also reprising their previous roles are Anya Taylor-Joy as Casey, the only surviving former captive of Kevin, and Charlayne Woodward as Elijah’s mother. Ms. Woodward is given little to do, and Ms. Taylor-Joy’s strong acting almost saves her from the ludicrous script … a development we intellectually understand, but emotionally refuse to accept. In fact, the script is to blame for most of our frustration here. McAvoy is again tremendous in his ability to convey multiple personalities, and Jackson, once he is no longer catatonic (never a good use of a dynamic actor), relishes his return to evil. There is an interesting use of color for the three main characters: Dunn – green, Kevin – yellow, and Elijah – purple, and the cinematography of Mike Gioulakis (IT FOLLOWS) contributes some unusual angles and views.

Disney and Universal are to be commended for a rare rival studio collaboration, and M Night Shyamalan certainly deserves credit for being on the front end (with UNBREAKABLE) of the serious, dark, atmospheric superhero movie perfected by Christopher Nolan’s Dark Knight trilogy, but this film is nothing to be proud of. The film’s twist is easily predictable (and dragged out), and some parts are disappointing while some are an insult to our intelligence … and downright silly (the ending). Still, there is a certain value to closure, even if it’s a letdown.

watch the trailer:

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Posted by David Ferguson

ADULT LIFE SKILLS (2019)

January 17, 2019

 Greetings again from the darkness. Each of us deals with grief in our own way, and often it’s even more challenging to help a grieving loved one. Loss and grief are at the core of writer-director Rachel Tunnard’s feature length film developed from her award winning short, EMOTIONAL FUSEBOX (2014).

When first we meet Anna, she is creating a space-oriented home video using aluminum foil and her thumbs. Yes, Anna is an adult – mere days from her 30th birthday. She’s not the type to live in her mom’s basement … no, instead she lives in the cluttered garden shed in her mom’s backyard. The play on words for the shed clues us in to Anna’s quirky personality (as if the foil spaceship and thumb faces hadn’t already done so). The Anna we see currently has no place for humor in her life.

Anna is struggling with the grief associated with losing her twin brother – a brother she was extremely close to. She’s challenged daily by the fine line between sorrow and depression, and is regularly late to her job at an outdoor camp for kids. Her morning routine includes drying her clothes in the microwave and bickering with her mother (Lorraine Ashbourne) over finding a boyfriend and new place to live. Mom has demanded Anna move out of the shed by her birthday.

Others in Anna’s life include her grandmother (Eileen Davies), Anna’s close friend Fiona (Rachael Deering), and local real estate agent Brendan (Brett Goldstein) who may or may not be on the spectrum, is constantly refuting assumptions that he is gay, and undoubtedly has an unrequited crush on Anna. Each of these folks tries in their own way to pull Anna from her funk and get her back to living. Surprisingly, the turn occurs when she is forced to look after a neighbor boy named Clint when his mother gets rushed to the hospital. Clint is an odd kid who wears cowboy attire and proclaims his desire to be like Anna … and they are more similar than she would care to admit initially.

Jodie Whittaker plays Anna and newcomer Ozzy Myers is Clint. Young Mr. Myers excels in his role, never going over-the-top with his offbeat tendencies. Ms. Whitaker (“Doctor Who”) first charmed us on screen with her role in VENUS (2006) and she proves yet again what an accomplished actress she is … likable and relatable. Here she turns an arrested development 30 year old hermit into someone we pull for. The film is filled with awkward interactions, each grounded in reality.

Of course, there is really nothing cute or charming about a 30 year old who hasn’t yet grown up, but slack and understanding is due here because of the grief. And it’s difficult to name another film character who could count mole hills daily and make it seem natural. Just remember that when a kid says they want to be like you, take it seriously – even if it’s because you are sad and lonely. Ms. Tunnard’s film is a bittersweet comedy that’s not too bitter, not too sweet, and not overly funny. It’s simply a fine little indie movie with a terrific performance from a talented actress.

watch the trailer:

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Posted by David Ferguson

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