Together Together


A truly odd couple.

(2021) Comedy (Bleecker Street) Patti Harrison, Ed Helms, Rosalind Chao, Timm Sharp, Bianca Lopez, Nora Dunn, Fred Melamed, Vivian Gil, Tig Notaro, Julio Torres, Evan Jonigkeit, Sufe Bradshaw, Travis Coles, Jo Firestone, David Chattam, Heidi Méndez, Ellen Dubin (voice), May Calamawy, Greta Titelman, Tucker Smallwood, Terri Hoyos, Ithamar Enriquez, Gail Rastorfer. Directed by Nikole Beckwith

Our biological clocks tick inexorably. Our time is limited and if we want to have kids, there is a time where we’ve got to buckle down and get to parentin’ if we’re going to do it at all. Not having a partner at that point in life isn’t necessarily the obstacle it once was.

For middle-aged app designer Matt (Helms), he hasn’t had any sort of romantic relationship in eight years but he REALLY wants to be a dad. He decides to go the surrogacy route and that’s how he meets Anna (Harrison). She’s a barista in a coffee shop in San Francisco (where Matt also lives) who has been estranged from her family ever since a teenage pregnancy led to her dropping out of high school and giving up the baby for adoption. She wants to break out of the rut her life has settled into and knows that she needs to complete her education – complete with college degree. The money she makes from having a baby would essentially be able to pay for getting her life back on track. She considers it a fair trade-off.

For Matt, being in control of things has been the secret to his success and at first he can’t help but be a bit of a control freak when it comes to Anna’s pregnancy, giving the stink eye over dietary choices and pushing for her to get clogs (“pregnancy shoes,” as he calls them). At first, Anna is annoyed by his intrusion into her life, but she soon begins to see inside the surface and realizes that Matt is really a nice, kind man who is looking to fulfill a life goal and on his own terms. That’s something they have in common.

Gradually the two form a bond, whether it is Anna showing up at a decidedly uncomfortable baby shower, or binge watching episodes of Friends with Matt. As the big day looms on the horizon, the two are constantly attempting to define their relationship and the boundaries therein. It’s not always easy.

In lesser hands this would have been a sappy rom-com with Matt and Anna falling in love and having a happily-ever-after but these are not lesser hands. Beckwith shows a deft touch with comedy and as she also wrote the script, a good deal of insight into parental urges and the nature of inter-gender friendships. Unlike the main premise of When Harry Met Sally, Beckwith not only supports the idea that men can be friends with women without a sexual element involved in the relationship, but that the friendship can be as deep and as fulfilling as a romantic relationship (I happen to agree with her). That friendship is at the center of the film.

For that reason, the movie is remarkably schmaltz-free. The emotions that come up are generally earned and feel organic. The two squabble from time to time, but it’s ot the cute squabbling of rom-coms but the honest disagreement between two adults who see things differently. Harrison, who most people know from Shrill (if they know her at all), is brilliant. Her performance here is compared to Melissa McCarthy’s in Bridesmaids in the sense that it is a breakout of a gifted comedian who is ready to become a major star, and I think Harrison could have that kind of success.

Helms has become a steady performer, excelling at playing decent guys and so he does here. You can’t help but be drawn to him, even though at times he is a bit overbearing (Matt, not Ed Helms). Watching Ed Helms work has always given me the feeling that he’s the kind of guy you want to be friends with. That’s a good skill to have for an actor.

The movie has some terrific supporting performances, ranging from Notaro as a therapist that both Matt and Anna see, Melamed and Dunn as Matt’s parents, Torres as Anna’s gay co-worker, and especially Bradshaw as an ultrasound technician who gets to witness Matt and Anna’s squabbles.

Maybe the best thing about the film is its ending, which takes place appropriately enough in the delivery room. Cinematographer Frank Barrera keeps the camera tight on Harrison’s face and Harrison gives him good reason to. Her expressions are beautiful and bittersweet, and the ending is about as perfect as a movie ending can be, fitting the tone of the film perfectly and providing a graceful coda. This was a movie that was far better than I had a right to expect it to be, and I recommend it highly.

The movie is currently playing the Florida Film Festival and can be streamed (by Florida residents only, unfortunately) at the link below, but be of good cheer – it is getting a national release a week from today (as this is published). So no excuses…

REASONS TO SEE: Helms and Harrison have excellent chemistry together. There is surprising depth in the comedy. Looks at surrogacy from an unusual angle.
REASONS TO AVOID: The humor might be too low-key for modern audiences.
FAMILY VALUES: There is some profanity including female reproductive references.
TRIVIAL PURSUIT: Harrison’s mother is Vietnamese and met her father, a U.S. soldier, during the War. They eventually got married and had seven children of which Patti is the youngest.
BEYOND THE THEATER: Virtual Cinema (through April 25)
CRITICAL MASS: As of 4/16/21: Rotten Tomatoes: 89% positive reviews; Metacritic: 66/100.
COMPARISON SHOPPING: Baby Mama
FINAL RATING: 8/10
NEXT:
Mapplethorpe

Looking for a Lady with Fangs and a Moustache


Tenzin engages in a little monk business.

(2020) Mystery (Abramorama) Oxygen Tobgyal Rinpoche, Tsering Tashi Gyalthang, Tulku Kungzang, Tenzin Kunsel, Ngawang Tenzin, Rabindra Singh Baniya. Directed by Khyentse Norbut

The search for enlightenment is an Eastern concept that we sometimes here in the West misinterpret. It is not always navel-gazing and chanting. It can be hard work.

Tenzin (Gyalthang) is a would-be entrepreneur in Kathmandu, Nepal who aim’s to open “Nepal’s best coffee shop.” When he’s not working on his ambitions, he also takes music lessons, somewhat half-heartedly, at the insistence of his mother, who believes him to be talented. In the meantime, he has assembled partners and funds, and is in the process of finding the perfect location. He brings his pal Jachung (Kungzang) to a bucolic location that was an older building badly damaged in an earthquake. Jachung insists that it was once a monastery and sacred to the goddess; trespassing and taking photos is a very bad idea.

And it turns out he was right. After experiencing some bizarre visions of women that only he can see, Tenzin consults a hip monk (Tenzin) – in shades and bright red headphones, no less – who nonchalantly informs him that he’s going to die in seven days. Tenzin is skeptical but as the visions continue, he consults a grumpy, older monk (Rinpoche) who informs him he has to find a dakini, a kind of feminine spirit who can take any form. Getting her alliance can stave off death.

So Tenzin goes on a kind of a journey through Kathmandu, trying to find a dakini and as the visions become more persistent, his skepticism becomes less sure. Can he find the dakini before he shuffles this mortal coil, or will she turn out to be right under his nose – in the person of singer Kunsel (Kunsel) who is part of his music class?

Most of the criticisms I’ve read about the movie complain that it is far different than the press notes and the poster make it out to be. Some were expecting a Jodorowski-like psychedelic freak-out, which I found kind of odd but okay. This is more of a spiritual journey, although not explicitly religious. In other words, this is very much a Buddhist film – full of wisdom, gentle humor and unexpected beauty. Norbu, who has helmed four other features besides this one (all with similar Buddhist themes), certainly knows his stuff both from a spiritual and practical standpoint. Not only is he an accomplished director, he’s also a spiritual leader among Tibetan Buddhists.

He has the advantage of utilizing Wong Kar Wei’s cinematographer Ping Bin Lee, and he makes full use of that advantage. Not only is there beautiful Nepalese locations to gawk at, the film is expertly framed with breathtaking shots – for example, one by a rushing river at dusk, candles floating on the waters, lights winking like fireflies.

Norbu also has a tendency to use nonprofessional actors and he found one in Gyalthang who has incredible screen presence. Although Tenzin has Western tendencies, wearing a suit and tie, working from a laptop, and with a huckster’s cheerful grin, there’s also something quite appealing about him, even if he is the least spiritual guy in the movie. He goes from monk to monk, asking how he might find a dakini, and gets a different answer every time – they can’t even agree on what a dakini IS. I get the sense that Norbu is also poking gentle fun at the foibles of his own philosophy (Buddhism is less a religion than a philosophy).

The pace is slow and languid and enjoying the film, like attaining enlightenment, requires a bit of patience. Still, this is one of the best films of the year that you’ve never heard of, easily equal of any that will have their praises sung at the upcoming Oscars. In a just world, there would be those sorts of accolades for this one too but I expect that Norbu didn’t make this movie for the kudos. Like Tenzin, he made this to point those on their own spiritual journey to the path of wisdom. Who can find fault with that?

REASONS TO SEE: Very understated and gentle. The music has almost a bluesy undertone. Gorgeous cinematography and locations. Strong performance by Gyalthang.
REASONS TO AVOID: Some might find it slow-paced.
FAMILY VALUES: There is a little mild profanity.
TRIVIAL PURSUIT: Norbu is actually from Bhutan and is a lama, a Buddhist holy man who was proclaimed as a child to be the third incarnation of the founder of Tibet’s Khyentse Buddhist lineage.
BEYOND THE THEATERS: Virtual Cinema
CRITICAL MASS: As of 4/15/21: Rotten Tomatoes: 86% positive reviews; Metacritic: 67/100.
COMPARISON SHOPPING: The Graduate
FINAL RATING: 9.5/10
NEXT:
Together Together


					

Nobody’s Fool (2018)


A buncha girls in cars.

(2018) Romantic Comedy (Paramount PlayersTiffany Haddish, Tika Sumpter, Omari Hardwick, Mehcad Brooks, Amber Riley, Whoopi Goldberg, Missi Pyle, PJ Morton, Michael Blackson, Jon Rudnitsky, Chris Rock, Nev Schulman, Max Joseph, Adrian Conrad, Courtney Henggeler, Candace West, Crystal Lee Brown, Peyton Jackson, Al Hamacher, Victoria Ealy. Directed by Tyler Perry

 

Tiffany Haddish is one of the hottest comedians in the world. Tyler Perry is literally a brand name in African-American cinema. It would seem to be a match made in heaven. Instead, it’s a godawful mess.

For one thing, Haddish is basically an extended cameo. She plays Tanya, the recently released from prison sister to affluent, successful Danica (Sumpter) who has just landed a big contract at the marketing firm she works at, and is long-distance dating Charlie (Brooks), a man she has never seen or been in the same time zone with. Tanya thinks she’s being catfished – ironically (or not) a program on MTV, which is owned by Paramount’s parent corporation. Tanya even gets the hosts of Catfished (Joseph and Schulman) to investigate. Meanwhile, there’s lovesick Frank (Hardwick), the coffee house owner who is completely smitten with Danica but doesn’t quite measure up to Danica’s succinct list of qualities her husband must have. Apparently in Tyler Perry’s world, all single women have such a list.

The problem with the movie is that it really isn’t very funny, and when you’re talking a rom-com, that’s half the promise. Oh, there are a few momentary chuckles – mostly supplied by Haddish – but she’s a fish out of water here. This really isn’t a movie that utilizes her talents very well and quite frankly, there have been damn few of them that she’s been in that have. It’s like she’s trying to out-Madea Madea and we all know that’s just not possible.

Sumpter does a lot better. She’s a natural rom-com lead and while she looks somewhat flustered when she’s with Haddish, she does the upscale African-American woman maybe better than anyone. Sadly, the plot goes meandering into all sorts of different territories – a Perry trademark, and like most of his films it hits and misses. This one is much more of a miss; it’s one of the weakest movies in the Tyler Perry catalogue and it shouldn’t have been. I think he would have been better served to make a movie around either Haddish or Sumpter – but trying to do both doesn’t serve the film well, and since Haddish is absent from nearly the entire second half of the movie, it leaves audiences giving puzzled looks at their TV screen, wondering where their star went to. I’ll tell you where she went – she’s on an extended coffee break in Frank’s shop. Watching her do that would have made a better movie than this one.

REASONS TO SEE: Sumpter has real talent and should be getting better parts.
REASONS TO AVOID: Too many rom-com clichés. Too much overacting from Haddish.
FAMILY VALUES: There is profanity (including sexual references) as well as sexual situations and some drug material.
TRIVIAL PURSUIT: This is Perry’s first film for any studio other than Lionsgate.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Epix, Fandango Now, Google Play, Hulu, Vudu, YouTube
CRITICAL MASS: As of 2/29/20: Rotten Tomatoes: 24% positive reviews: Metacritic: 39/100
COMPARISON SHOPPING: Why Did I Get Married?
FINAL RATING: 4.5/10
NEXT:
Murder Death Koreatown

Method of Murder


In the desert where you can bury your bodies …or not.

(2017) Documentary (Vision) Jacky Rom, Tommy McDonald, Junior Rubio, Arianna Black, Mason Pollack, Jamie Wilson, Sarah Cass, Cash Kasper, Norm Thom, Derek Stevens, John Fiato, Jenny Brown, Vivien Karp, Joseph Charfauros, Sandy Karp, Larry Hess Lyle Rivero, Marco Antonio, Keith Evans, Kristin Whittemore, Isabelle Mondelaers. Directed by Elliot Manarin

 

How do you kill a person and get away with it? In this era of forensic experts, security cameras and digital footprints, it’s harder than ever – and it was never easy. For most of us, it’s an academic question, something that leads us to watching TV crime shows or reading murder mysteries.

For British crime novelist Jacky Rom however, it’s a whole lot more than idle speculation – it’s a living. The author of best-selling novel From Makeup to Murder, she was hard at work on the follow-up From Vegas to Villainy and needed some ideas on how to do the deed, so to speak. Being the kind of plucky sort who isn’t afraid to get her hands dirty, she heads out to Los Angeles and Las Vegas to figure out how she was going to commit the perfect crime – in a literary sense.

In this hour-long documentary, Rom interviews tattoo artists, photographers, magicians, make-up specialists, lion tamers, archers, casino security experts and firearm specialists. For the most part everything is handled in a fun, lighthearted manner. Rom is endlessly cheerful and comes off like a Brit combining work and vacation, but there are some serious moments. She is visibly affected when she fires a handgun; the recoil establishes just how powerful a weapon it is and just how easy it is to kill someone with it. For a few moments, the crime author seems to be empathizing more with the victims than the investigators.

She seems to have an inventive mind as one of the methods she devises is pure genius if impractical. However, sadly, most of the methods she investigates are pretty run-of-the-mill – I suppose she wanted to keep her best ideas for her book and I could hardly blame her. As it turns out, having lions dispose of the remains of her victim turns out to be a bad idea. When she looks into burying a body in the desert, she discovers it is a whole lot harder than it sounds.

I don’t think this is going to give anyone with criminal intent any nefarious ideas but it is a bit of a lark, even if it moves slowly occasionally. Rom is an engaging personality and I wouldn’t mind spending an hour with her normally but after awhile this begins to feel like one of those British travel documentaries that has an offbeat, morbid bent.

REASONS TO SEE: The concept is fascinating albeit morbid.
REASONS TO AVOID: The movie is fairly vanilla and unimaginative.
FAMILY VALUES: Although presented in a lighthearted manner, some of the subject here is adult in nature thematically speaking.
TRIVIAL PURSUIT: In addition to being a crime novelist, Rom also is a radio hostess in the UK.
BEYOND THE THEATER: Amazon, Fandango Now, Microsoft, Vimeo, Vudu
CRITICAL MASS: As of 7/30/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: How to Commit the Perfect Murder
FINAL RATING: 5/10
NEXT:
The Farewell

Unfriended: Dark Web


Your computer is watching you and no, that’s NOT a good thing.

(2018) Horror/Thriller (BH Tilt) Colin Woodell, Stephanie Nogueras, Betty Gabriel, Rebecca Rittenhouse, Andrew Lees, Connor Del Rio, Savira Mindyani, Douglas Tait, Bryan Adrian, Chelsea Alden, Alexa Mansour, Rob Welsh, Alexander Ward, Kurt Carley, Chuck Lines, Eric Watson, Maya Nalli, Ashton Smiley, Kiara Beltran. Directed by Stephen Susco

The Internet is like landing on a brand new planet; there are all kinds of places to explore, from web comics to news sites to social media. You can spend hours browsing Wikipedia, Snapchat, Spotify, Amazon, eBay, iTunes and wherever else you want to be. There are some corners of the web however that are best left unexplored.

Matias (Woodell) has a brand new laptop. Well, new to him anyway…he purloined it from the lost and found of the coffee shop he works at. He needs a new one because his current one is unreliable and slow and he can’t afford a new one. He can’t even afford a used one. He desperately needs one because quite frankly he needs to get back in the good graces of his ex-girlfriend Amaya (Nogueras) who he is almost stalker-ish obsessed over.

It’s also game night for a bunch of his millennial friends and in true tech-dependent fashion, rather than meeting up in person they get on Skype to play Cards Against Humanity (isn’t there an app for that?). His friends include cute couple Nori (Gabriel) and Serena (Rittenhouse), conspiracy junkie AJ (Del Rio), British tech guru Damon (Lees) and YouTube-famous musician Lexx (Mindyani). If these descriptions sound like stereotypical clichés, it’s mainly because they are; little thought is given to supplying any depth to any of the parts.

Editorializing aside – there’ll be plenty more of that kind of thing later – it turns out that there are some hidden files on the laptop and those files enable connection to the dark web, the semi-mythical place on the Internet where dirty deeds are done dirt cheap and nearly any perversion can be had for the asking, including murder and torture. Some of the files on the laptop show gruesome scenes of snuff and torture as well as webcam footage of a local missing girl. And the owner of the laptop now knows that someone else has it and is logged in and they want it back and not tomorrow but right freaking now. To prove how serious he is, the owner kills one of their number on camera, warning the survivors if they go to the cops he’ll kill them. And naturally, their life expectancies has just taken a turn for the worse.

I don’t really know where to start here. The acting is mostly okay – the majority of the cast has served time doing teen-oriented TV shows like Teen Wolf and The Originals. You really can’t complain about the actors because they are given so little to work with and their characters are required by the script to make some unbelievably dopey decisions in order to move the generally unrealistic plot along.

All of the action is viewed through various apps and laptop/tablet/smart phone screens, which is the trope that was used in the original Unfriended and is essentially the only connection between the two movies. This isn’t so much a sequel as part of an anthology which I can understand, but might not have been the best idea but then again, the original wasn’t all that compelling and had no characters in it that you’d want to see in another movie. Just like this one.

At least the first film had a fairly original concept but since it came out in 2015 several other movies have utilized the same or a similar gimmick. The supernatural element of the first is gone but replaced by a nearly real-world tone which goes completely out the window when we discover that the owner of the laptop utilizes a special jacket that causes cameras to malfunction, allowing him to not be seen; sort of a Harry Potter Cloak of Invisibility for the Snapchat set.

And that brings up another problem – this movie essentially has built-in obsolescence. Any relevance it might have had (the first one at least had an anti-cyber bullying message) will be lost in the very pop culture/social media consciousness of the film. What’s cool in 2018 might not necessarily be in 2020. This is a film with a shelf life which means that buyers remorse will likely set in quickly once you realize that the movie is “so 2018.”

I was mildly entertained by this one – Rittenhouse and Gabriel make an appealing couple and Gabriel is actually a decent actress who needs some roles that will let her spread her wings a little. The scares aren’t terribly scary – clearly the producers were aiming for a PG-13 – the characters aren’t memorable and the plot is riddled with clichés like Swiss cheese is with holes. In an era where strong horror films are becoming more and more available, efforts like this which seem to be cash grabs capitalizing on a popular could-be franchise film aren’t really worth your time if you’re a horror gourmet. Of course if you’re ,more of a gourmand you might find this more suitable.

REASONS TO GO: There is some nice family bonding moments.
REASONS TO STAY: The filmmakers are trying too hard to make it witty and cute.
FAMILY VALUES: There’s a fair amount of disturbing imagery, sexual references and profanity herein.
TRIVIAL PURSUIT: There are two different endings in the theatrical version; also, the original title was to have been Unfriended: Game Night but the title was eventually changed to avoid confusion with the Jason Bateman comedy.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 10/26/18: Rotten Tomatoes: 57% positive reviews: Metacritic: 53/100.
COMPARISON SHOPPING: Searching
FINAL RATING: 5/10
NEXT:
Six Days of Darkness Day Two

Pulp Fiction


Someone is going to get a cap in their ass.

Someone is going to get a cap in their ass.

(1994) B-Movie Noir (Miramax) John Travolta, Bruce Willis, Samuel L. Jackson, Uma Thurman, Ving Rhames, Tim Roth, Eric Stoltz, Amanda Plummer, Harvey Keitel, Christopher Walken, Steve Buscemi, Quentin Tarantino, Julia Sweeney, Phil LaMarr, Frank Whaley, Burr Steers, Rosanna Arquette, Bronagh Gallagher, Duane Whitaker, Peter Greene, Stephen Hibbert, Kathy Griffin, Maria de Madeiros. Directed by Quentin Tarantino

Some movies become classics because they define an entire genre; others because they define a region. Many become classics because they define the person who made it – and Pulp Fiction does. But what sets it apart from other movies is that Pulp Fiction has come to define cool.

Pulp Fiction is ranked high on a lot of people’s lists of all-time favorite or significant (or both) films, critics and film buffs alike. Tarantino had already been receiving notice for his previous films True Romance and Reservoir Dogs but to most people, this is his artistic nadir. It would provide a serious career renaissance for Travolta and a boost for Willis, while Jackson would really hit the public radar with his incendiary performance here.

Tarantino skillfully weaves three stories – one of two career killers, Vincent Vega (Travolta) and Jules Winnfield (Jackson) having a particularly bad day, a second about a prize fighter named Butch Coolidge (Willis) who fails to throw a prize fight and runs afoul of gangster Marcellus Wallace (Rhames) who also happens to be the employer of Messrs. Vega and Winnfield. Finally a third story involves Vincent’s ill-advised assignment to take out Marcellus’ wife Mia (Thurman) out for dinner and dancing. He takes her out to Jack Rabbit Slim’s, a restaurant that never existed but OMG it should have. There, waiters dressed like Hollywood stars of the 50s and 60s serve burgers, shakes and steaks to customers seated in classic cars. Slot car racers ring the room and periodic twist contests and other entertainment keep the joint hopping.

My personal favorite sequence is when Vincent and Jules head to a suburban home of mutual friend Jimmie Dimmick (Tarantino) after one of the messiest accidents you’ll ever see on film. They are forced to call The Wolf (Keitel), a fixer who specializes in clean-ups. There is a whole lot of dark humor in the scene and I always look forward to it whenever I view the movie which is pretty regularly.

Tarantino has always been a skillful writer of dialogue and he writes some of the best I’ve ever heard here. Much of it has become classic; Vincent’s laconic assertion that in France, a Quarter Pounder with cheese is called a Royale with cheese, or Jules’ Biblical oration when he’s about to shoot someone in the face and who can forget Marcellus Wallace promising that he is “going to get medieval on yo ass” to a  It is also the kind of film where bad things happen to just about everyone.

The movie combines all sorts of different genres, from black comedies to thrillers, from mob movies to fight flicks. Pulp Fiction is B-Movie noir, a tribute to the movies that weren’t so respectable but are the movies that we tend to remember even more than the high-falluting Oscar winners. These are the movies that we are raised on, the movies that make us feel just a little bit like badasses. These are the movies that appeal to the devils of our better nature, and Pulp Fiction is everything about these movies that makes them great.

WHY RENT THIS: A true classic with some of the best dialogue ever written. Terrific performances by Travolta, Jackson, Thurman and Keitel.  Awesome soundtrack.

WHY RENT SOMETHING ELSE: May be filled with a few too many pop culture references.

FAMILY VALUES:  All sorts of violence and drug use as well as a ton of foul language.

TRIVIAL PURSUIT: Travolta and Thurman copied their twist sequence at Jack Rabbit Slim’s virtually move for move from a similar dance sequence in Fellini’s 8 1/2 by Barbara Steele and Mario Pisu.

NOTABLE HOME VIDEO EXTRAS: The Collector’s Edition DVD includes a feature from Siskel & Ebert At the Movies on Tarantino and his generation of filmmakers, Tarantino’s acceptance speech when the film won the Palm d’Or at the Cannes Film Festival, an interview of Tarantino by Charlie Rose and a menu from Jack Rabbit Slim’s. The Blu-Ray has all of these other than the menu.

BOX OFFICE PERFORMANCE: $213.9M on an $8M production budget.

COMPARISON SHOPPING: Reservoir Dogs

FINAL RATING: 10/10

NEXT: The World is Not Enough

Breaking Upwards


Breaking up is hard to do.

Breaking up is hard to do.

(2009) Drama (IFC) Daryl Wein, Zoe Lister-Jones, Andrea Martin, Olivia Thirlby, Ebon Moss-Bacharach, Julie White, Peter Friedman, LaChanze, Pablo Schreiber, Heather Burns, Tate Ellington, Francis Benhamou, David Call, Sam Rosen, Max Jenkins, Audrey Allison. Directed by Daryl Wein

It is said that it isn’t always easy to pin down when a relationship begins but it is almost always obvious when a relationship ends. Hollywood tends to spend much more time in the former situation and much less in the latter and usually when a relationship ends in a Hollywood movie it’s always sudden, event-based and rarely the way things work in real life.

Daryl (Wein) and Zoe (Lister-Jones) have been going together for four years. He’s a writer and filmmaker, she’s an off-Broadway actress. Sex between them has become almost routine and just something that Zoe wants to get over with as quickly as possible.

Obviously the bloom is off of the rose of their relationship and the two of them, being good New York hipsters, decide that they’re going to spend some time apart but not the way most normal couples do. Instead, they’re going to pick several days during the week when they are forbidden from seeing each other. Hopefully this enforced time off will help them gain some perspective.

Instead, it gives them opportunities for them to see other people – Alan (Schreiber) in her case, Erika (Thirlby) in his. It also gives the relationship an opportunity to die slowly. Daryl moves in with his mom (White) while Zoe’s mom (Martin), a sort of hippie feminist sculptor with a big dash of Jewish mom thrown in for  good measure, attempts to help Zoe get through a situation that mom doesn’t quite understand.

Wein and Lister-Jones co-wrote the script (along with Peter Duchan) and reportedly based it on their own experiences as a couple when they were going through a rough patch (they are no longer together). Wein, who would go on to direct Lola Versus, shows some nice touches in depicting a relationship in a realistic manner but then turns it into an indie hipster fest with characters hanging out in coffee houses, listening to indie rock and talking like they based their dialogue on episodes of Buffy the Vampire Slayer.

Wein and Lister-Jones make an engaging couple as you might expect having had a real life romance but it is after they separate that things kinda lose their steam. That’s a bit opposite of what I would have hoped for; in a chronicle of a relationship’s demise, I would hope that there would be more intensity as things spiral towards their inevitable conclusion.

The supporting cast, most of whom worked for scale if they took money at all is pretty impressive, with SCTV alum Martin showing the most depth but veterans White and Friedman also get some pretty nice scenes and Moss-Bacharach and Thirlby contributing some key scenes as well.

I take it that Wein and Lister-Jones are New Yorkers and of course they’re going to write about what they know. No problems there, although I think that at some point there are going to be enough movies about New York/Brooklyn hipsters and perhaps we’ll see people that don’t live in lofts that they can’t possibly afford, aren’t artists or artistic and don’t eat out and go out drinking more often than Paris Hilton does. If you’re going to make a movie about real relationships, the least you can do is make the environment real as well – at least, not a cliché typical indie flick New York environment which has been done to death.

I liked the premise a lot but the execution left a lot to be desired, mostly on the writing end. I can take a script in which the leads do senseless things – when it comes to love and relationships, often the things we do in real life don’t make sense either. What I can’t take is a movie that’s serious in tone getting unexpectedly precious which takes me right out of the experience. There are some things here that work, enough for me to give it an average rating but I hope that Wein continues to grow as a filmmaker and tries a few other environments other than the one discussed. I think he needs to be taken out of his comfort zone a bit in order to be a better filmmaker, although in all fairness this was a local production made on a microscopic budget that probably wouldn’t cover office supplies on a major studio release. I can commend the movie for not looking or feeling that it was made on the cheap but I just wish it took a less consciously hip tone.

WHY RENT THIS: A rare realistic look at a relationship’s end. Some good performances.

WHY RENT SOMETHING ELSE: Once again, awfully New York-centric. Some cutesy-pie moments derail the movie’s overall tone.

TRIVIAL PURSUIT: The New York Times did an article on the film’s production, praising it as an example of “sweat equity” or the use of alternative methods to acquire cast, crew and production funding.

NOTABLE HOME VIDEO EXTRAS: A photo tutorial.

BOX OFFICE PERFORMANCE: $77,389 on a $15,000 production budget; the movie was quite profitable.

COMPARISON SHOPPING: Uncertainty

FINAL RATING: 5/10

NEXT: Deadline