Ode to Joy (2019)


Love means never having to stand in the rain.

(2019) Romantic Comedy (Mosaic) Martin Freeman, Morena Baccarin, Jake Lacy, Melissa Rauch, Jane Curtin, Shannon Woodward, Ellis Rubin, Jackie Selden, Adam Shapiro, Jason Altman, Alex Perez, Ravi Cabot-Conyers, Tyler Bourke, dL Sams. Directed by Jason Winer

Love is a difficult enough proposition without throwing in an exotic illness. The highs, the lows…it’s a real test of our emotional capabilities. It can affect even the best of us in unexpected ways. Those who are especially sensitive…it can be a real war.

Charlie (Freeman) is such a case. He has a rare condition called Cataplexy which affects those who suffer it whenever they are struck by strong emotions. Although portrayed here as a separate disease, it is actually a side effect of narcolepsy. For Charlie, whenever he feels joy, he loses consciousness. That can be a real mood-killer, romantically speaking.

He lives a carefully ordered life, one in which he tries to avoid any situations that might affect him emotionally and the sight of newborn babies will have him reciting lists of the most depressing thigs imaginable. He tries to keep as even a keel as possible, aided by his generally irresponsible younger brother Cooper (Lacy). That all takes a sharp left turn when he meets Francesca (Baccarin). Charlie and Francesca hit it off immediately and soon Charlie takes a chance and asks her out. It seems to go really well until she asks him up to her apartment – and Charlie’s condition makes a very nasty appearance.

Charlie, fearing what might happen, calls things off with Francesca and ends up seeing Bethany (Rauch), a friend of Francesca’s. Cooper, noticing that Francesca is available, starts dating his brother’s ex – except Charlie and Francesca aren’t at all sure that they are with the right partners.

Freeman is a charming lead with oodles of likability. While the chemistry with Baccarin isn’t 100% convincing, it’s a good 95% at least; maybe it’s the imperfections that make the romance at the center of the movie more powerful. While the medical basis for the film is a little bit shaky, it should be remembered that this isn’t meant to be a medical textbook and thus the disease is meant to fit the story rather than the other way around.

At times the dialogue gets a little florid, not unusual in a rom-com although the film valiantly tries and mostly succeeds at avoiding the clichés of the genre. Still, there is plenty of heart here and while I could do without the quirky indie New Yorker tropes, this is actually a heart-warming and charming little film that hopefully will get at least a limited release (it has a distribution deal with a boutique Sony label so there’s that) because this is the kind of movie the world needs more of.

REASONS TO SEE: Not your typical rom-com. Really strong performances all around. Bizarre in a good way.
REASONS TO AVOID: Some of the dialogue is overwrought.
FAMILY VALUES: There are some sexual references and mild profanity as well as a bit of violence.
TRIVIAL PURSUIT: Freeman and Baccarin have both appeared in Marvel movies; Freeman as Agent Everett Ross, Baccarin as Vanessa Carlyle.
CRITICAL MASS: As of 5/14/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: As Good As It Gets
FINAL RATING: 8/10
NEXT:
Carmine Street Guitars

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Radium Girls


Where does their skin get that healthy glow? Radium!

(2018) True Life Drama (CineMosaic) Joey King, Abby Quinn, Cara Seymour, Scott Shepherd, Susan Heyward, Neal Huff, Colin Kelly-Sordelet, John Bedford Lloyd, Joe Grifasi, Brandon Gill, Olivia Macklin, Colby Minifie, Greg Hildreth, Veanne Cox, Tom Galantich, Steven Hauck, Carol Cadby, Gina Piersanti, Julianna Sass, Neil Akins, Gemma Schreier. Directed by Lydia Dean Pilcher and Ginny Mohler

Most of my readers will be too young to remember but there was a time when watches were painted with radium paint in order to make the dials luminescent. In the 1920s and 1930s, outfits like United States Radium and the Radium Dial Company employed women as young as 11 years old to paint the watch faces using camel hair brushes that the girls would dip into the paint and then paint the face of the watch. The brush would quickly lose its shape and the girls were instructed to use their lips to bring the brush to a point and then resume dipping and painting.

In 1928 the United States Radium Company employed 75 women in their New Jersey plant, including sisters Bessie (King) and Jo (Quinn). A third sister had also worked there but she’d passed away some months earlier. The girls are high-spirited, Bessie more so than Jo – especially after Jo falls ill. Bessie is really worried, particularly since Jo was by far the superior earner of the two (the girls are paid for each watch face they complete and Jo not only paints more of them but is far more meticulous). She asks the boss (Lloyd) if Jo can get seen by the company doctor, which he reluctantly agrees to.

The girls have been told that radium is perfectly safe; the company doctor tells Jo initially it’s just the flu and to drink lots of fluids and rest but Bessie insists on a thorough examination. The diagnosis comes back a syphilis, which is a bit amazing considering that Jo is a virgin. Bessie, never a radical, begins to discern a pattern developing among the girls at the factory who are all beginning to show symptoms of the same illness. Suspecting a rat, she sees a labor organization who helps her get a lawyer – she intends to hit United States Radium in the only place they understand; their wallets.

This is an important story and it deserves to be told. It has appeared on a number of different television shows, including 1,000 Ways to Die and other fact-based television shows. Books have been written around the girls as well as at least one stage play that I’m aware of. Oddly, it hasn’t been the subject of a theatrical feature until now and considering how important the case would become to labor laws in this country it’s almost inconceivable (and yes, I do know what it means). Perhaps because the victims were all women has it not gotten the coverage that’s warranted.

The movie is reasonably well-acted; the cast other than King is pretty much unknown but Pilcher and Mohler manage to get some pretty decent work tells me a lot about them as directors. They also are to be commended for their creative use of archival footage (and black and white recreations that look archival) that is inserted at various points during the film. That’s really imaginatively done and as a history buff I really appreciated it.

The main problem I had with the movie is that it feels too much like a movie of the week. That comes a great deal from the writing which has a kind of melodramatic feel to it. I’m not sure if the writers were trying to go for a period feel here or not but it doesn’t work. The movie is at its best not when it is showing us how horrible the rest of the world was to these women, but when it allows us to get to know who they were as people. Another thing I’m not sure of; I don’t know if the characters here were the actual Radium Girls from the U.S.R. plant in New Jersey or merely based on them. The names I’ve found for the actual litigants in the case were different than the ones given to the characters in the movie.

Also, the filmmakers failed to mention that there were two other groups of Radium Girls, one in Ottawa, Illinois who went through the same ordeal ten years after their New Jersey sisters did. That company, Radium Dial Company, had to have been fully aware of the dangers of radium and yet urged their employees to use the “lip, dip, paint” method anyway. It took eight trials (all of which were won by the litigants) for the Illinois Radium Girls to get the money they needed for medical expenses; it was a case of the company stalling so that the victims would die before they had to pay out anything. That gives you an idea of what monsters were running that company.

The real Radium Girls died real deaths that were terrible, gruesome and absolutely unconscionable. That they were abandoned to their fates by callous employers who saw them as expendable commodities that could easily be replaced only adds to the horror. It would be nice to say that things have changed a great deal since these events happened but sadly, they have not. The fact that the current administration is actively trying to strike down existing worker safety laws is proof enough of that.

REASONS TO SEE: Makes a wonderful use of archival footage.
REASONS TO AVOID: Feels too much like a Movie of the Week (in a bad way).
FAMILY VALUES: There’s some mild profanity and a bit of violence.
TRIVIAL PURSUIT: If you take a Geiger counter to the graves of the Radium Girls, it still registers as radioactive.
CRITICAL MASS: As of 5/7/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Triangle Factory Fire Scandal
FINAL RATING: 6/10
NEXT:
Girls of the Sun

To Dust


“It could be worse. It could be raining!”

(2018) Dramedy (Good Deed) Gėza Röhrig, Matthew Broderick, Sammy Voit, Bern Cohen, Ben Hammer, Leo Heller, Janet Sarno, Ziv Zaifman, Leanne Michelle Watson, Jill Marie Lawrence, Larry Owens, Isabelle Phillips, Marceline Hugot, Natalie Carter, Andrew Keenan-Bolger, Joseph Siprut, Linda Frieser, Stephanie Kurtzuba, Jaclyn S. Powell, Sarah Jes Austell. Directed by Shawn Snyder

 

In life, death is certain but growth is optional. The wisdom of a Star Trek movie “How we deal with death is at least as important as how we deal with life” is lost on most of us. We deal with death by ignoring it.

Shmuel (Röhrig) can’t ignore it. His beloved wife has just passed from cancer and it has thrown him for a loop. A cantor in the Hassidic Jewish faith, he is having a hard time dealing with it – he can’t even tear his coat properly until his mother supplies him with a tiny pair of scissors. Shmuel is nothing if not tied to his faith but he begins to have nightmares of his wife’s body decomposing. Troubled, he seeks the advice of his rabbi (Hammer) but is left unsatisfied. He needs to know precisely what is happening to his wife’s body. He has questions: is her soul suffering as her body decays? He needs to know.

His quest takes him beyond the parameters of his faith and to a scientist. Well, to a guy who teaches science at the local community college: Albert (Broderick). Albert is going through a rough emotional time of his own, having just been divorced. At first, he finds Shmuel’s persistence annoying – anybody would. Shmuel has the dogged determination of a mule trying to get that carrot. Eventually though Albert warms to the scientific aspect of the question and the two begin to delve into “experiments” that are started by an innocent remark on Albert’s part that Shmuel takes literally and eventually involves dead pigs, kidnapped pigs named Harold, road trips and body farms.

This movie is plenty quirky and mostly in an endearing way. Death and the mechanics of bodily corruption are not things we are geared to talk about much as a society. Nobody wants to know about the bacterial breakdown of our mortal remains; nobody wants to hear about maggot infestations and what happens to our skin, our eyes and our brains. It’s a vaguely disturbing subject but it is tackled with surprising compassion here.

It helps having a pair of charismatic leads. Broderick is perfectly cast here to the point where I can’t imagine any other actor playing this role. Albert is a bit of a kvetch in many regards and Broderick excels at those kinds of roles. Albert copes with his grief by smoking a lot of dope and listening to Jethro Tull – in other words, reverting back to his high school years in which he likely smoked a lot of dope and listened to a lot of Tull. I give the movie a lot of cultural points, by the way, for including Tull on the soundtrack. Rock on!

Röhrig, who some might remember from a much different movie called Son of Saul, plays a man who is consumed by his obsession to the point that he can’t see that his sons are also grieving and need him more than ever. His behavior is so odd that the two believe he has been possessed by a dybbuk, a kind of Jewish demon, and are researching the prospect on their own. The problem here is that often we don’t get a sense of Shmuel’s actual grief, the pain of losing someone so beloved although I will give you that maybe his obsessions with the body’s breakdown is his way of dealing with it. We all grieve in our own ways.

I don’t know enough about the Hassidic culture to determine whether or not the production was accurate on their rituals or lifestyle. Shmuel lives in an upstate New York townhouse, drives a station wagon and occasionally curses like a sailor. His sons are conversant with the Internet and computers. This is a different portrayal of their culture than I think most of us are used to.

Death isn’t an easy subject to tackle and our own mortality and the end disposition of our remains may be a little bit too uncomfortable a subject for some. The filmmakers are to be commended for taking it on and handling it in a mostly sensitive way – there is a lot of humor involved here but also a lot of respect for the subject. I’m not saying that this should be considered a primer in grief in any way, shape or form but any movie that allows us to discuss something so basic but so disconcerting deserves praise in any case.

REASONS TO SEE: The film is quirky in an endearing way. Broderick is solid as usual
REASONS TO AVOID: Röhrig is a bit too laconic at times. The subject matter may be too uncomfortable for some.
FAMILY VALUES: There are plenty of disturbing images of corpses, some brief nudity, drug use and a fair amount of profanity.
TRIVIAL PURSUIT: Scenes set at the community college were filmed at the City University of New York’s Staten Island campus.
CRITICAL MASS: As of 3/16/19: Rotten Tomatoes: 89% positive reviews: Metacritic: 66/100.
COMPARISON SHOPPING: The End
FINAL RATING: 6.5/10
NEXT:
Everybody Knows

Weed the People


A father teaches his son to “grow your own”.

(2018) Documentary (Mangurama) Mara Gordon, Bonni Goldstein, Tracey Ryan, AJ Kephart, Amanda Reiman, Sunil Agarwal, Shirley Kephart, Josh Ryan, Sharon Lane, Angela Peterson, Yohai Gulan Gild, Jeffrey Rabe, Donald Abrams, Adrian Peterson, Chris Kephart, Angela Smith, Ethan Nadelmann, Stewart Smith, Angela Harris, Alice O’Leary-Randall. Directed by Abby Epstein

 

Marijuana has been demonized for decades in this country. The FDA has placed marijuana on an equal footing with heroin in terms of enforcement. The overwhelming majority of the country wants it legalized, particularly for its medicinal benefits but our government refuses to even consider it, largely because Big Pharma wants it to remain criminalized.

This film argues the case for legalization rather effectively, following five families with children who are afflicted with cancer. Desperate for relief from pain and suffering both from the disease and the chemo treatments, the parents turn from traditional medicine to alternative cures. California, where medical marijuana has been legalized for years, is the setting here and a family from Chicago, which sets up residency in California in order to get the cannabis oil that might be keeping their son alive, is also followed here.

Physician and advocate Bonni Goldstein counsels family through the sometimes confusing process of qualifying for the medical marijuana program is profiled as well as Mara Gordon, a former process engineer who has become a cannabis oil cooker, helping patients determine the dosage needed for their children. “We are lab rats,” she states grimly and indeed it’s true; there has been very little research done into the use of cannabis to treat cancer and much of what Gordon does is through trial and error. Sometimes the results are spectacular, bordering on the miraculous as tumors shrink and cancers flees. In one case here, the usage of the cannabis cannot stop the child’s death from his disease.

There are a lot of talking heads and a lot of scientists and doctors giving mainly anecdotal evidence – as I said there is little in the way of formal studies – about the effectiveness of cannabis in treating cancer, improving appetite and reducing pain. The science and logic are well supported even though some of the science (particularly when they talk about cannibinoids and chemistry) went sailing over my sadly non-scientific head but the filmmakers do make a very good case.

However, one can’t help but feel manipulated. Any good will that the movie generates for its cause disappears in light that the filmmakers use children exclusively to make their point. Adults need cannabis oil just as desperately as children do but sick kids make more of an emotional impact. It reeks of dirty pool and while I suppose that the Marquis of Queensbury rules go out the window when a family member is in a life or death fight, it still rubbed me the wrong way and felt a little exploitative to boot.

I also felt that the filmmakers were presenting cannabis as a cure that can’t fail, like penicillin was once. The fact is that cannabis is ineffective for some people (one of the children, as I stated, didn’t survive) and that may well be due to the lack of clinical studies – and I totally agree that such studies should be undertaken forthwith. Still, it seems a bit cruel to build up the hope for parents of sick kids or families of sick adults. Even Gordon, who approaches the subject with level-headed perspective born of an engineering background, cautions “I can’t promise anything,” as she sits down with those who are desperate for anything. The treatment is prohibitively expensive and isn’t covered by most insurance policies.

One physician early on cautions “The plural of anecdote is not ‘evidence’,” and the filmmakers seems to lose sight of that here. The stories are indeed compelling, the subject is indeed worth exploring, the advocates interviewed are indeed passionate and the children quietly courageous. All that is to the good. If Epstein had handled the subject with a little bit more of an even hand, I think her documentary would have been far more persuasive. I support the conclusions more in spite of the film than because of it – not what I’m sure any filmmaker wants to hear about their documentary

REASONS TO GO: It’s an important topic that needs to be addressed. The advocates are engaging and truly passionate. The children with cancer are resilient, courageous and inspiring.
REASONS TO STAY: There are too many talking heads and the science sometimes goes over mine. The filmmakers are a little too biased.
FAMILY VALUES: There are drug references although mostly in medical terms.
TRIVIAL PURSUIT: Although cannabis has been used medicinally for centuries, it has only been illegal in this country for about 75 years.
CRITICAL MASS: As of 11/3/18: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Super High Me
FINAL RATING: 7/10
NEXT:
Bodied

American Dresser


Give me life on the road.

(2018) Drama (Cinedigm) Tom Berenger, Keith David, Carmine Canglialosi, Gina Gershon, Penelope Ann Miller, Jeff Fahey, Bruce Dern, Kathrine Narducci, Andrew Bryniarski, Becky O’Donohue, Elle McLemore, Rob Moran, Jennifer Damiano, Wyatt Lozano, Scott Shilstone, Ryan R. Johnson, Josh Owens, Jim Ford, Michael Perri, Sophia Franzella. Directed by Carmine Canglialosi

 

There are few things more American than hopping on your motorcycle and going off in a cloud of dust to travel the highways and byways of our great nation. It’s been an idea that has captivated American cineastes at least as far back as Easy Rider and it is a motif that has shown up in movies over and over again ever since.

John Moore (Berenger) is dealing with the grief of his wife’s (Gershon) death from cancer and not at all dealing with it well. He has fallen into the bottle, much to the disgust of his two adult daughters who are further mortified when he shows up late to his wife’s funeral. Basically in an alcoholic stupor all day, he decides to assuage his grief by going through his wife’s things – doesn’t everybody? – which is when he finds a letter she had written to him but never sent. The contents aren’t revealed other than obliquely and even then not until late in the film but John is inspired to dust off his old bike and head off on a road trip to Oregon from whatever Eastern hamlet he lives in.

Joining him is Charlie (David), John’s comrade-in-arms in Vietnam. Charlie has been recovering from the effects of an auto accident and the surgeries haven’t gone well. Facing the loss of a leg, he wants one last adventure with his buddy before going under the knife. And, to paraphrase the great Paul Simon, they rode off to look for America.

America in this case being a land of sexy waitresses in honkytonks, barroom brawls with inbred rednecks, hooking up with a group of L.A.-based lady bikers, having the black member of the party accused of a murder he didn’t commit and beaten up by small town cops and for John, finding romance with the cousin of Charlie’s fiancée. They also pick up a stray in hunky Willie (writer-director Canglialosi) who helps them out in the previously mentioned barroom brawl and whom women seem drawn to like catnip. He’s also hiding a secret, on the run from the cops. There is a point to the journey for John but I won’t mention it here.

This is a movie I really wanted to like. Road films are some of my favorites and the strong cast promised at least decent acting but alas, that’s not what happened in either case, me liking the film and decent acting by the strong cast. Although Berenger is game, David is as always reliable and Miller is as pretty as ever, other than a cameo by Dern the acting is largely disappointing. The overall tone is kind of muted, like all the energy has been wrung out of the film before it unspools. Considering the level of talent in the film that’s pretty shameful.

The hero of the movie is not John Moore or the man that plays him so much but cinematographer Jesse Brunt who comes up with some iconic shots of the back roads of the Midwest and West, the somewhat forced shot of the bikers roaring past Mount Rushmore notwithstanding. While the movie seems meant for an older adult audience, there seems to be little here to drive them into theaters other than a blast from the past cast; the relationship between John and Charlie for example seems pretty sketchy with little filling in the blanks other than a few story references and the obvious band of brothers in Vietnam reality but other than some insulting boys banter, the bond between the two remains maddeningly unexplored. For my money Canglialosi the writer should have eliminated the part of Willie entirely; that would have at least forced him to develop the relationship between the two vets more thoroughly. Frankly, Willie adds almost nothing to the movie other than to be the brawn for the two older men.

To be fair, there is some fun in watching some of these veteran actors go about their business and the scenery along the road is wonderful but that’s really all the movie has going for it which is mighty sad. You get the sense that the writer didn’t really have anything to say other than that older people can still ride and anyone who has been to a gathering of bikers can tell you that anyway. Did the film make me want to get on a bike and ride off? To a degree yes, but definitely not with these people.

REASONS TO GO: There are some nice shots of the American road.
REASONS TO STAY: A little maudlin, a lot cliché, the tone of the film is tepid at best.
FAMILY VALUES: There is some profanity, drug references and violence.
TRIVIAL PURSUIT: Tom Berenger’s birth name was Moore, the same as his character’s last name.
BEYOND THE THEATERS:  Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 10/1/18: Rotten Tomatoes: 0% positive reviews. Metacritic: 24/100.
COMPARISON SHOPPING: Wild Hogs
FINAL RATING: 5/10
NEXT:
Queen of the World

Before I Wake


Kate Bosworth knows why the butterflies fly.

(2016) Horror (Netflix) Kate Bosworth, Thomas Jane, Jacob Tremblay, Annabeth Gish, Topher Bousquet, Dash Mihok, Jay Karnes, Lance E. Nichols, Antonio Romero, Kyla Deaver, Hunter Wenzel, Scottie Thompson, Jason Alan Smith, Michael Polish, Brett Luciana Murray, Natalie Roers, Erika Hoveland, Avis-Marie Barnes, Courtney Bell. Directed by Mike Flanagan

 

Dangerous and even deadly children have long been a horror trope. There is something about angelic little moppets who gleefully cause mayhem and murder that is absolutely horrifying, reflecting our own fears of being bad parents or of being vulnerable to our kids.

Jessie (Bosworth) and Mark (Jane) have been through the worst nightmare any parent can conceive; their son Sean (Romero) died tragically in a bathtub drowning incident. Jessie is no longer able to conceive and there is an empty space in their lives that two years after the accident they are ready to fill with Cody (Tremblay) who has a tragic history of his own. The couple adopts him and their case worker Natalie (Gish) thinks that these two will give Cody a loving home. And they do for awhile.

They soon discover that Cody has a mysterious power, one that has caused him to be abandoned by would-be foster parents. His dreams become tangible. At first it is beautiful as colorful butterfly with internal lights flit about their house. Then, however, it becomes clear that Cody’s nightmares are also punching into the real world and his nightmares can kill people.

Flanagan is considered one of the most promising young horror directors at the moment for good reason. He’s had a string of movies that have been at least a cut above most films of the genre. This one, caught in the morass that was Relativity in 2015 (when the movie was originally supposed to be released) and 2016 has finally seen the light of day thanks to Netflix. Was this worth the wait?

Yes and no. The movie has some incredible visuals, from th butterflies of light to the terrifying Canker Man (Bousquet). It also has a strong performance from Jane who is superb and likable as Mark although his hair choice has to be questioned; his Fabio locks aren’t quite right for the character. However, Bosworth is dreadfully miscast as the heroine. She is pretty like a porcelain doll and she just looks out of place in the movie. To make matters worse, Flanagan and co-writer Jeff Howard inexplicably make her exploit the young boy’s powers which really made me feel uncomfortable. To be fair, critics have pretty much universally praised her performance so take my criticism with a grain of salt; sometimes even a good performance doesn’t connect with everyone.

Tremblay, who went on to an Oscar nomination for Room is a bit wooden here but also to be fair he was about seven or eight years old when he filmed this. The concept though is pretty original and for the most part Flanagan gets it right until the ending which is a bit lame. This won’t go down as one of his better films but those who follow his career definitely should see it and those who like films like The Babadook will probably enjoy this one as well.

REASONS TO GO: A terrific premise with some nifty visuals. Thomas Jane is extremely likable.
REASONS TO STAY: Kate Bosworth isn’t convincing enough as a horror heroine. The ending is lame.
FAMILY VALUES: There are some disturbing images of terror and peril.
TRIVIAL PURSUIT: The movie was originally going to be distributed theatrically by Relativity but their financial woes led to a constant shifting of release dates and finally the film was sold to Netflix where it was quietly released more than two years after the original premiere date.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 9/8/18: Rotten Tomatoes: 61% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Dreamscape
FINAL RATING: 6/10
NEXT:
The Big Take

Funeral Day


Not exactly what the doctor ordered.

(2017) Comedy (Random Media) Jon Weinberg, Tyler Labine, Suzy Nakamura, Tygh Runyan, Dominic Rains, Jed Rees, Kristin Carey, Sarah Adina, Jeremy Radin, Ron Butler, Rahnuma Panthaky, Robert Bela, Joe Fidler, Mat Kohler, Nakia Secrest, Luca Secrest, Ralph Cole Jr., Jared Adams, Noam Emerson-Fleming, Shauna Bloom. Directed by Jon Weinberg

 

Funerals are a drag. Nobody ever really wants to go to one; while we couch them in terms of “it’s a celebration of his/her life,” it is also very much a reminder that a funeral of our own awaits us down the road.

Scott (Weinberg) wakes up on the morning of a close friend’s funeral (who passed away at a young age from cancer) and discovers a lump on his own scrotum. A bit of a hypochondriac to begin with, he is completely freaked out and decides not to go. When his pal Chris (Runyan) arrives to take him to the event, Scott refuses to go. We discover that Scott never visited Ryan the entire time he was in the hospital; “I don’t do cancer” is Scott’s lame explanation.

But Scott has it figured out. Instead of going to a depressing ritual of saying farewell amid tears and tea sandwiches he decides that the better thing to do is turn his own life around “in honor of Ken.” He determines to make amends to those he has wronged, and to trim his scruffy beard and get a haircut, among other things. As much as he wants to change though, it becomes apparent that he doesn’t really want to change his life; he just wants to change his circumstances. The very embodiment of a self-centered hipster, Scott has a lot of growing up to do if he is to affect serious change and maybe a group of characters including a sexually aware waitress he’s sweet on, a married couple who have some pretty bizarre ideas of health and a self-absorbed real estate license who is focused on selling Scott a property he can’t afford particularly after quitting his job as part of his “remake Scott” project.

There are also endless shots of Scott running throughout L.A. without ever breaking a sweat. Didn’t he get the memo that nobody walks in L.A.? In any case while I think it was meant for comic effect, it really isn’t all that funny and to be honest there isn’t a lot to laugh about here. Some of the stuff that pokes fun at shallow Los Angeles culture works pretty well but those moments tend to get repetitive also. Besides, it’s too much like shooting fish in a barrel.

This is meant to be a comedy that involves taking stock of one’s life and finding the motivation to getting out of one’s rut. The problem with this movie (and it’s a big problem) is that Scott is so thoroughly selfish, so incredibly unlikable that even though the film is a short one you feel like you’re being forced to hang out with that guy nobody likes. I’m not sure Weinberg intentionally made Scott so unlikable so that when he achieves some sort of redemption at the film’s conclusion it will be a cathartic moment, but no such catharsis occurs. You’re not motivated enough to care at all whether Scott gets his redemption and makes the changes he yearns to. It just feels like an exercise in self-absorption.

Although the supporting cast (with the exception of Labine and Nakamura, both in very brief roles) is largely less well known, their performances are actually pretty strong particularly Runyon and Adler. Unfortunately, it isn’t enough to make this film, which actually has something to say, worth much more than a mild “check it out if you have nothing better to do.” I think if they had written Scott as more deserving of redemption maybe it would be possible to get more invested in the film but that just doesn’t happen.

REASONS TO GO: There are some decent performances, particularly from Runyan and Adler.
REASONS TO STAY: Scott may be the most annoying protagonist ever.
FAMILY VALUES: There is profanity including sexual references, further sexual content and some brief drug use.
TRIVIAL PURSUIT: The film took Best Comedy Feature honors at both the Twister Alley Film Festival and the Jim Thorpe Independent Film Festival.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu
CRITICAL MASS: As of 6/12/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Lie
FINAL RATING: 5/10
NEXT:
King Cohen