Write When You Get Work


This is what “kissyface” looks like.

(2018) Dramedy (Abramorama) Finn Wittrock, Emily Mortimer, Rachel Keller, Jessica Hecht, Hermione Heckrich, James Ransone, Andrew Schultz, Isabella Blassingame, Afton Williamson, Jennifer Mudge, Mitchell Slaggert, Gregory Isaac Stone, Jeffrey Butler, Robert Eli, Scott Cohen,  Sam Gilroy, Rosa Gilmore, Adele Kader, Ava Capri, Tess Frazer. Directed by Stacy Cochran

 

Sometimes people get off to a bad start. They get involved with the wrong people, get involved with the wrong drugs, or just plain lose their way. Some people stay that way while others make an effort to make a change. After all, it’s not how you start but how you finish.

Jonny (Wittrock) and Ruth (Keller) had that kind of start. The two were high school sweethearts if that’s what you can call a couple who share hurried beach couplings and shoplifting sprees. Nine years later, both have graduated on gone on to different lives. Jonny remains pretty much in the same juvenile pattern, unable to keep a job and forever on the hustle for whatever score he can manage.

Ruth on the other hand has landed a job in the admissions office of an exclusive girls school on Long Island. While it is very much an “interim” position, things are looking up for her. A chance meeting at a funeral for a track coach for the both of them leads Jonny to infiltrate her life, much against her will, involving occasional breaking and entering.

When he finds out about Ruth’s new gig, dollar signs light up his eyes. He looks at the school she works at as his own potential fishing hole. He lands on a particularly vulnerable guppy; Nan Noble (Mortimer) who is on the verge of a nervous breakdown. Her douchebag of a husband (Ransone) is being investigated by the feds for financial chicanery and she is very much worried that her own assets will eventually be seized. Enter smooth-talking Jonny and soon the two hatch a convoluted plot. At first, Ruth is trying to separate Jonny from Ruth but soon gets sucked into the scheme. Things begin to escalate, one double-cross follows another and soon nobody knows who to trust.

I don’t mind a good heist movie, no matter how complicated but you need to have a rooting interest in the con artists. Jonny is just so slimy and so without conscience that you can only root for a quick arrest. Wittrock is a decent enough actor and he is certainly a good looking man but he doesn’t pull off the charming rogue here. Mortimer though is fun to watch; you get the sense that she is one bad day away from cracking and she does high-strung as well as anyone.

There are some moments that are borderline brilliant – the cinematography can be magical – but the plot is so convoluted and relies on people acting in ways that people don’t ever act. Cochran has made a couple of solid movies but this one is a step backwards. By the time you get to the end of the movie you may have already checked out which is a shame because that’s the best part of the movie. File this one under near-miss.

REASONS TO GO: There are flashes of something interesting here. Mortimer does her best with  bad hand.
REASONS TO STAY: Wittrock’s character is completely despicable. The script is convoluted and sometimes not believable.
FAMILY VALUES: There is plenty of profanity, some drug use and sexual situations.
TRIVIAL PURSUIT: Cinematographer Robert Elswit has worked frequently with director Paul Thomas Anderson
CRITICAL MASS: As of 11/24/18: Rotten Tomatoes: 46% positive reviews: Metacritic: No score yet.
COMPARISON SHOPPING: Thief
FINAL RATING: 5/10
NEXT:
Invisible Hands

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Bodied


Bodied

Going mano a mano.

(2017) Dramedy (NEON/YouTube Premium) Calum Worthy, Jackie Long, Rory Uphold, Jonathan “Dumboundead” Park, Walter Perez, Shoniqua Shandai, Charlamagne Tha God, Dizaster, Debra Wilson, Anthony Michael Hall, Lisa Maley, Eddie Perino, Eric Allen Smith, Candice Renee, Daniel Rashid, Vivian Lamolli, Yves Bright, Corey Charron, Sloane Avery. Directed by Joseph Kahn

 

PUBLIC SERVICE ANNOUNCEMENT: I will try to refrain as much as possible from using hip hop slang which only makes me sound like a middle aged movie critic who has absolutely no understanding of the culture or the language. You’re welcome.

Once in awhile a movie will come along whose subject holds no interest for me and I’ll give it a pass when the opportunity comes along to view it. After all, realistically speaking there are only so many movies that anyone can see in a week, even a reviewer. All of us are forced to pick and choose somewhat, making room for movies we figure are either important or hold some interest for us. I’m not a big fan of rap – it just doesn’t speak to me personally – and a movie about battle rap, as this one is, held no interest for me. However, a colleague recommended this film so enthusiastically that when the publicist approached with a screener link I gave in and said okay, not really expecting much.

Mea culpa. I was wrong, wrong, wrong. This movie is as entertaining as anything you’ll see during this busy season for movies. Worthy plays the somewhat unfortunately named Adam Merkin, a grad student at Berkeley who is doing his English Literature master[s thesis on the use of the “N” word in battle rap. He takes his uptight feminist Vegan girlfriend Maya (Uphold) to a rap battle, explaining to her (and to us) what’s going on and the various terms which is an ingenious way of using the terminology so that everyone can understand it – and they do use a lot of it.

Adam interviews Behn Grymm (Long), a master battle rapper who finds Adam’s genuine enthusiasm amusing and for giggles sets up the nerdy ginger up for a parking lot post-battle battle with a wannabe named Billy Pistolz (Charron). After a weak start, Adam suddenly finds the confidence to absolutely destroy his foe which he finds invigorating and eventually cell phone footage of his win is discovered by a promoter who signs up the youngster in a try-out battle against an L.A. Korean rapper named Prospek (Park) and Adam wins that too, gaining the respect of his opponent and other battle rappers like Che Corleone (Perez) and Devine Write (Shandai). It’s a feeling he is not used to never having gotten much respect in his life.

As he continues to rap, his repertoire includes increasingly homophobic, misogynist and racist slurs – all perfectly acceptable within battle rap but at Berkeley the student body and administration have a collective coronary and soon he finds himself persona non grata even with his own father (Hall) who teaches there. Nonetheless YouTube fame and respect are a heady mixture and Adam begins to change radically – or is this the person he has always been but has kept submerged?

The writing here is phenomenal. Eminem, who is a producer here, isn’t spared; during one meta moment (and there are several) a group of battle rappers discuss the Detroit star and his movie and let’s just say they’re none too charitable. Liberal white guilt is skewered here as charges of “cultural appropriation” are thrown about like fish at Pike’s Place Market. Berkeley liberals are shown to be none too tolerant here and there’s some truth in that, sad to say.

Then again, rap culture seems to get a pass. Within a rap battle, anything goes – you can say what you want about a person’s ethnicity, sexual orientation, weight, appearance, anything at all – and you get a pass particularly if you’re black. Behn Grymm explains to Adam that certain aspects of black culture are off-limits for him because he’s white. There will be those who will call that a double standard and they’re not wrong, although the reasons for it are not unjustified either. It’s pretty thoughtful stuff for a comedy in which when battle rappers make “gun hands” at their opponents, animated smoke comes out of their fingers and faux gunshots are heard on the soundtrack. However, the filmmakers are also unafraid to test our own preconceptions about battle rappers; most of them have jobs, none of them are broke (except college student Adam) and one of them turns out to be a middle class computer game programmer with a nice house and a beautiful family.

Worthy, best known for his work on American Vandal on Netflix, gives a star performance here. He is perfectly cast, a skinny and nonthreatening  redhead who shows some teeth later in the movie once he’s been pushed to the limit and essentially abandoned by those closest to him. It’s a powerful performance but Worthy shows a light touch when he needs to.

I have to admit some of the digs at women, Asians, plus size people, Hispanics, and yes, white people did make me a little bit uncomfortable. I guess that’s my own liberal guilt at work. Still, I found this movie to be smart, insightful and extremely funny in places. I still am not a rap fan but I am living proof you don’t have to be to really enjoy this movie – although it helps enormously – but certainly those who love the music will likely want to see this forthwith.

The movie is the first to be picked up by the YouTube Premium channel for theatrical release which is handled by the indie company that also distributed the Oscar-winning I, Tonya for a brief theatrical run. It will also be available on YouTube Premium at the end of the month. Whether you see it online or in a theater, by all means see it. You won’t be sorry.

REASONS TO GO: The script is smart and funny. Worthy is perfectly cast. Those unfamiliar with battle rap won’t get hopelessly lost.
REASONS TO STAY: Some of the less savory aspects of battle rap are cast in a more flattering light than they should be.
FAMILY VALUES: There is all sorts of profanity, some drug use, sexual content, brief nudity and a heaping helping of racial slurs, homophobic slurs and misogynistic slurs.
TRIVIAL PURSUIT: Writer Alex Larson is a veteran battle rapper, going by the name of Kid Twist.
CRITICAL MASS: As of 11/5/18: Rotten Tomatoes: 88% positive reviews: Metacritic: 77/100.
COMPARISON SHOPPING: 8 Mile
FINAL RATING: 8/10
NEXT:
Can You Ever Forgive Me?

Stella’s Last Weekend


Ollie is certainly no angel.

(2018) Dramedy (Paladin/The Orchard) Nat Wolff, Alex Wolff, Polly Draper, Paulina Singer, Nick Sandow, Julia Macchio, Julia Abueva, Leo Heller, Lisa Darden, Patricia Squire, Will Cooper, Norm Golden, Simon Maxwell, Joseph Satine, Shawn Allen McLaughlin, Kelly Swint, Adam Enright, Christopher Halliday, Alex DiMattia, Kareem Williams, Courtney Leigh Goodwin, Harriet Weaver. Directed by Polly Draper

 

Personally, I’ve never had a brother. I grew up with a sister who was less than a year younger than I (my parents believed in getting the childbearing phase out of the way quickly). I know from experience with my sibling though that we talk in our own peculiar shorthand. In-jokes that mean nothing to the world at large never fail to elicit smiles from one or both of us. There are still jokes that I can reduce my sister to helpless tears of laughter with while outsiders look on in puzzlement. It’s that way between siblings.

Ollie (A. Wolff) and Jack (N. Wolff) are that way as well. Jack is returning home from college where he is studying Marine Biology to witness the last days of the beloved family dog, Stella. Their mother Sally (Draper) has decided to throw a farewell party for the dog, much to the bemusement of her sons and the confusion of her boyfriend Ron (Sandow) whom the boys mercilessly rib and whom they appear to despise. He seems like a high-strung traditionalist who can’t understand why kids of today don’t respect their elders the way his generation used to. Believe me, Ron, I hear you.

Ollie is also picking this weekend to introduce his family to his new girlfriend Violet (Singer), an aspiring ballerina: “Violet, this is everyone I love. And Ron.” Ollie is head over heels in love with Violet and confesses to his brother that she sent him some racy pictures on Snapchat of her underboob. Jack realizes that he’s met Violet before and that the two of them had a mini-fling which ended with her not returning his calls. He’s been obsessing with her ever since and now she’s apparently in love with his brother. He’s trying to step aside in favor of his brother but his feelings for her are too strong and as it turns out, she still has feelings for him.

Ollie is blissfully unaware of the drama going on alongside him. He’s too busy needling the mean girls in her ballet class, skewering poor Ron and doting on Stella who is gamely trying to live out her last days with as much dignity as she can muster, but the pain is beginning to get to be too much, which Sally acknowledges in a truly poignant moment. However, when the secrets the boys have been hiding from their mom and each other comes out, it tears a big hole in what was a close-knit family. Can they recover?

Ollie is an expert in put-downs and his potty mouth sometimes drives Ron to pulling out what little hair he has left; Ollie has no compunction at nailing Ron to the wall over his comb-over. Alex plays Ollie as a high-strung, energetic kid with a terrific brain – he’s already outdoing Jack in the courses that are leading Jack into a career in Marine Biology. Ollie is witty and quick-witted; the punch lines come rapid fire between the two boys. He is also capable of being a first-class asshole. Jack, on the other hand, is quieter, less acerbic and no less quick witted; he can hold his own with his brother but is generally less talkative with others. I can’t vouch for how the two interact off-camera but their banter sometimes sounds overly scripted; it’s hard to come up with the perfect comeback at every opportunity and Ollie seems to do so effortlessly. It’s possible he’s that quick but not likely and so the heart of the film, the byplay between the brothers starts to sound forced and unnatural.

Despite the clever dialogue, the chemistry between Nat and Alex is genuine as you would expect between siblings. The affection between the two is genuine and even when things break down between the two, everything that happens in their relationship feels authentic; at times though the audience clearly feels like outsiders witnessing a conversation they weren’t meant to hear.

There are some genuinely poignant moments as I alluded to above; there are also some really funny one-liners, mostly courtesy of Ollie. There is definitely chemistry between the brothers; after all, this isn’t the first time they’ve acted together before (some might remember them from the Naked Brothers Band show they did about a decade ago) and the affection is obvious. Still, at times the dialogue seems to be a bit forced and the events a little too contrived.

Stella’s Last Weekend turns out to be a bittersweet relationship movie that to its credit doesn’t coast too often. The film earns most of its emotional responses which is to be envied in a day and age when most movies are lazy about their emotional manipulation. The movie isn’t always successful but when it is, it is. Unfortunately, when it’s not it’s not.

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 is profanity, crude gestures, some sexual content and violence.
TRIVIAL PURSUIT: The Wolff brothers are Draper’s sons in real life; the dog that played Stella is also the family dog (who is alive and well as of this writing).
CRITICAL MASS: As of 10/21/18: Rotten Tomatoes: 69% positive reviews: Metacritic: 64/100.
COMPARISON SHOPPING: The Only Living Boy in New York
FINAL RATING: 6.5/10
NEXT:
London Fields

The Oath


The most awkward Thanksgiving dinner EVER!

(2018) Dramedy (Roadside Attractions) Ike Barinholtz, Tiffany Haddish, Billy Magnussen, John Cho, Nora Dunn, Max Greenfield, Jon Barinholtz, Meredith Hagner, Jay Duplass, Carrie Brownstein, Chris Ellis, John Ducey, Jon Lovett, Priah Ferguson, Henry Kaufman, Brian Guest, Matt Conboy, Ithamar Enriquez, Brett Lapeyrouse, Molly Erdman. Directed by Ike Barinholtz

 

We live in an extraordinary time, and not in a good way. Our country is divided as it hasn’t been since the War Between the States. Politics have become a blood feud with two intractable sides refusing to listen to each other or admit that the tactics of their side could be anything but above reproach. Politics are dividing friends and family like never before.

Chris (I. Barinholtz) is one of those progressive sorts who watches cable news like a hawk and this, predictably, keeps him in a constant state of anger. He doesn’t have discussions so much as he has apocalyptic rants, quite sure that the latest thing the left is doing signals the end of life as we know it. However, this time he has good reason: the President (never identified in the film but c’mon – it’s meant to be Trump) has ordered that all Americans sign an oath of loyalty. Not to the country, but to the President.

Of course, Chris loses his mind and swears he’d sooner gouge out his eye with a spoon than sign this thing. His savvy and level-headed wife Kai (Haddish) agrees with him but in a less strident tone and at a less ear-splitting volume. The deadline for signing is Black Friday – the day after Thanksgiving. It so happens that Chris and Kai are having Thanksgiving dinner this year at their home with Chris’ somewhat clueless parents (Ellis, Dunn), his conservative-leaning brother Pat (J. Barinholtz), Pat’s similarly right wing girlfriend Abby (Hagner) whose name Chris defiantly refuses to say correctly, and his sister Alice (Brownstein) who tends to side with Chris.

The dinner predictably escalates into armed warfare between Chris and his brother’s girlfriend as the news shows images of protesters getting shot and left-leaning websites report that a government agency called the  Citizen’s Protection Unit (CPU) has been taking protesters away, never to be seen again. Chris’ paranoia reaches redline fever when two CPU agents, Mason (Magnussen) and Peter (Cho) show up at his door. Then things go from bad to worse.

I don’t think I’ve seen a movie yet that captures the ongoing political division of this country as this one does. Barinholtz, a first-time filmmaker, wrote and directed this and while you can see some of the rookie mistakes – the tonal shift between the first half which is more comedic and the second half, which is more of a thriller along the lines of The Purge. The dichotomy between the two is a little bit jarring to say the least. In many ways the second half is a bit surreal, going in a completely unexpected direction and detracting from the power of the first half..

Barinholtz though coaxes a magnificent performance from Haddish, in my opinion her best to date. She’s caught in the middle between her hair-trigger husband and her equally passionate brother-in-law’s girlfriend. Chris doesn’t act civilly all that often; you either agree with him or you’re a fascist and Chris is one of those liberals who thinks they know what’s right better than anyone. Kai is the mitigating factor that keeps Chris from getting too toxic, although it’s obvious that the job of being his buffer is wearing on her.

While it is clear that the filmmakers’ sympathies lie with the left, they at least have a clear enough head to recognize that the progressive side has its own share of hostility. Much of what we see onscreen are things I’ve witnessed first-hand among liberal as well as conservative friends. While the ending is a bit far-fetched, at least it leaves us with the hope that we’ll be able to learn to talk to each other again someday. Hope is a precious commodity these days and this movie at least has that, although it is cynical in places to the point of head-exploding madness. Hope is something to be cultivated and yes, discovered in movies as well. As for me, I hope Barinholtz continues to make movies; he shows he has a real talent and talent like his should be encouraged.

REASONS TO GO: This is possibly the finest performance ever by Tiffany Haddish.
REASONS TO STAY: The movie goes off the rails in the second half.
FAMILY VALUES: There is a bunch of profanity, some of it graphic. There is also brief violence, nudity and sexual situations.
TRIVIAL PURSUIT: Barinholtz was once a member of the MadTV troupe.
CRITICAL MASS: As of 10/19/18: Rotten Tomatoes: 66% positive reviews. Metacritic: 58/100.
COMPARISON SHOPPING: Idiocracy
FINAL RATING: 6.5/10
NEXT:
Stella’s Last Weekend

All About Nina


The comedian is hard to spot.

(2018) Dramedy (The Orchard) Mary Elizabeth Winstead, Common, Chace Crawford, Camryn Manheim, Jay Mohr, Mindy Sterling, Angelique Cabral, Clea DuVall, Kate del Castillo, Beau Bridges, Nicole Byer, Todd Louiso, Victor Rasuk, Pam Murphy, Sonoya Mizuno, Melonie Diaz, Elizabeth Masucci, Cate Freedman, Grace Shen. Directed by Eva Vives

 

Some movies are pretty much what you expect them to be. They chug along, doing what you imagined they’d do, making the plot points you expected from them, following a tried and true formula. That’s not necessarily a bad thing; I’ve seen plenty of really entertaining movies that were also formulaic. Then again, there are movies like All About Nina that are motoring along at a brisk pace, fulfilling every one of your expectations to the point where you think you’re going to give a mediocre review. Then one scene comes along, elevates the movie into something special and blows all your preconceptions out of the water, leaving you breathless.

Nina Geld (Winstead) is a stand-up comedian who has been banging her head against the wall of male hegemony in the stand-up business. Her act has a lot of anger in it as she reaches across taboo lines like diarrhea and menstruation and keeps on going until she can find another line to cross. She is involved in a relationship with a married cop (Crawford) who beats her up from time to time. Her life is, in a nutshell, going nowhere.

She decides to shake things up a bit and heads out to Los Angeles to try and get a special on the Comedy Prime network. Supported by her very pregnant agent (Cabral), Nina moves in with a sweet New Age sort (del Castillo) and soon begins to make some noise in the L.A. comedy clubs. Her self-destructive impulses however have followed her from New York; too much drinking, too much sex with the wrong guys…that kind of thing. Then she meets Nate (Common), a contractor who takes an interest in her as she does in him. Suddenly there are possibilities. The network is interested in her as well but it all comes crashing down, leading her to a confessional standup session where everything comes out.

That confessional standup sequence is alone worth seeing. It is one of the most mind-blowing, heart-rending sequences I’ve seen in a film this year. Winstead is not a stand-up comic but she does a credible job with her delivery here. She also brings an animal intensity to the role that gives Nina the kind of edge that we rarely see in movies since the ‘70s. She’s been on a roll of late and hopefully we will start to see her in the kind of prestige roles she is well-suited for.

Common also excels here. He’s a bit on the Zen side in terms of being calm, cool and collected in the face of Hurricane Nina but he’s such a good boyfriend type that one wonders why he hasn’t gotten more romantic lead roles before now. Hopefully this will lead to a good many more of that sort of parts and I’m sure there are plenty of ladies who’d agree with me on that point.

The movie can be difficult to watch; Nina has a self-destructive streak a mile wide and can be unpleasant to be around. She is bitchy at times and a rage bomb at others. Her stand-up routine is not for the faint of heart or of stomach and those who are offended by profanity might as well give it up – there are sailors who would blanch at the filth that comes out of Nina’s mouth both on and off stage. However, if you have the stomach for it and the patience for it, this is a movie that has been slowly rolling out around the country that deserves a look if it’s playing anywhere near you.

REASONS TO GO: One scene elevates this movie into something special. Winstead and Common deliver solid performances.
REASONS TO STAY: A good deal of L.A. stereotypes infests the film.
FAMILY VALUES: There is a bunch of profanity, some of it graphic. There is also brief violence, nudity and sexual situations.
TRIVIAL PURSUIT: This is Vives’ feature film debut. She is known previously for writing the story for Raising Victor Vargas.
CRITICAL MASS: As of 10/12/18: Rotten Tomatoes: 88% positive reviews. Metacritic: 70/100.
COMPARISON SHOPPING: Mr. Roosevelt
FINAL RATING: 8.5/10
NEXT:
The Church

Microhabitat (So-gong-nyeo)


Cleanliness is next to godliness.

(2017) Dramedy (CGV Arthouse) Esom, Jae-hong Ahn, Duk-moon Choi, Jin-ah Kang, Sung-wook Lee, Gook-hee Kim, Jae-hwa Kim. Directed by Jeon Go-Woon

The economics for those living on the bottom rung of the working class are fairly bleak. As inflation brings the price of goods and services up, the pay for workers isn’t keeping pace. The results are that we are working longer and harder for less. This is true pretty much on a global scale.

In Seoul, Miso (Esom) is a 31-year-old housecleaner who lives in a tiny one-room unheated apartment in a dodgy part of Seoul. She seems ok with her lot, so long as she has the three things that make her life bearable; cigarettes, whiskey and her boyfriend Hansol (Ahn), an aspiring manhwa artist. However, new taxes bring the price of cigarettes up to a level that makes her right, meticulously managed finances even tighter. On top of that when her apologetic landlord is forced to raise her rent, rather than give up smoking and drinking, Miso chooses rather to be temporarily homeless.

It is winter and Seoul can be a very cold place in winter. Miso must rely on her friends to put her up, but each one has their own lifestyle and their own set of circumstances. Once all somewhat bohemian college students (some of whom were bandmates of Miso back in the day), they have all exchanged their ideals for conformity and in some cases, creature comfort. Each apartment she visits has its own habitat and the dweller within their own needs. Miso tries to meet those needs as best she can. She is unfailingly cheerful and even as she listens to her friends rant about their problems never feels compelled to judge. Neither do her friends feel compelled to ask Miso about her circumstances.

In many ways Microhabitat feels like it takes its cues from American independent films with the sometimes eccentric characters, the low-key comedy and the subtle message delivered in the slice of life presented for consumption. If this film had been made in America, Greta Gerwig would undoubtedly have been cast as Miso and the movie would have been set in New York. The difference here to an American version is the Korean traditional values, some of which aren’t all that alien to American audiences; the marginalization of unmarried women (particularly at Miso’s age), the rendering to near-invisibility of those working service jobs, the importance placed on wealth and productivity. Well, maybe the American film would have been set in SoHo and have the Miso character hanging out in bars where indie rockers played desultory sets for young hipsters. None of that happens in this film.

But of course there is no American version – yet – and judging Microhabitat on its own merits is not really very hard. Miso is a somewhat difficult character to get a real handle on because writer-director Jeon Go-Woon has the character play things close to the emotional vest. Yes, Miso is cheerful and helpful and maybe a little bit stubborn but we rarely see anything resembling despair except near the end when her boyfriend, tired of living hand to mouth, decides to accept a job in Saudi Arabia that will take him away from Seoul for two years. Other than those moments, Miso is always accepting, always polite, always giving. She’s not a saint – saints don’t smoke as much as Miso – and she may not have really grown up since college in some ways but she has grown in ways her friends who have essentially “sold out” could never understand.

In a time when most people are just one paycheck away from economic disaster it can be a bit painful to watch the realities of Miso’s financial situation; for some, they may strike a little too close to home. The tone is on the bittersweet side and the comedy fairly subtle but I have to admit that the ending was really charming and did a lot to elevate the movie. While it possesses a few bad habits common in American indie films, Microhabitat is nevertheless charming throughout largely because Esom makes Miso such a delightful character that everyone will want to spend time with.

REASONS TO GO: The tone overall is bittersweet but the ending is a bit of a grace note.
REASONS TO STAY: The economic hardships can be difficult to watch.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUIT: Go-Woon is part of a Seoul-based collective of independent female directors called Gwanghwamun Cinema; this is her feature debut.
CRITICAL MASS: As of 7/15/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Frances Ha
FINAL RATING: 6.5/10
NEXT:
Liverleaf

Hearts Beat Loud


Isn’t this how Phish got started?

(2018) Dramedy (Gunpowder & Sky) Nick Offerman, Kiersey Clemons, Toni Collette, Ted Danson, Sasha Lane, Blythe Danner, Quincy Dunn-Baker, Alex Reznik, Andrea Morales, Michael Abbott Jr., Harrison Chad, Robert Reed Murphy, Rafael Poueriet, McManus Woodend, Faith Logan. Directed by Brett Haley

 

Sometimes you just need a movie that’s going to make you feel good. More often than not you’ll reach for a favorite from childhood or even young adulthood, something as familiar and as comforting as an old blanket on a rainy day. Other times though you still want to try something new. If this is one of those times, have I got a movie for you.

Frank (Offerman) is the proprietor of Red Hook Records, the kind of store John Cusack would love. He resolutely and stubbornly sells only vinyl in the hipster-infested neighborhood of Red Hook in Brooklyn. When one such hipster scolds him for smoking in his own store, Frank replies acidly that if he’ll buy something, he’ll put out his coffin nail. The hipster counters by whipping out his phone and ordering his record on Amazon. Such brazen acts of douche-ness should be rewarded with a bazooka to the face.

His smart and pretty daughter Sam (Clemons) is heading to med school all the way across the country at UCLA in the fall. Frank is okay with this although the cost for sending his baby to college is staggering; there’s no way he could afford it on what he’s pulling in from the store so after 17 years he’s shuttering the business, despite the attempts by his sympathetic landlady (Collette) and kinda-sorta-maybe love interest to help him out.

One of Frank’s great joys is having a regular jam session with his daughter. Frank, who in his youth recorded an album, recaptures a little bit of his past glory in these sessions. On this night, a tune his daughter had been working on becomes a really good single. Dad wants to start a band with her and tour; she wants to go to med school. He takes the recording of the song and without her knowledge submits it to Spotify. It is added to a curated New Indie playlist. Suddenly things are starting to happen. You can guess where this is leading.

Haley, who directed last year’s excellent The Hero, surrounds these two with a pretty fair cast, including Danner as Frank’s mom who is showing signs of dementia and shoplifts from time to time, Danson as a pothead bartender and Lane as Sam’s girlfriend. There’s not a poor performance in the bunch and Offerman in particular is marvelous – I think this is his best work to date as a matter of fact. While it might seem to be a bit presumptuous for his daughter to tell Frank – often – that he needs to grow up, it’s also true that Frank seems to be spending his time in Just-Out-of-College Land.

There are a few bumps in the road; the relationship between Sam and Rose feels contrived and a bit too ridden with indie clichés to really hold up.. Also some of the roles (in particularly the mom and Rose) that are woefully underwritten and could have used some fleshing out. The soundtrack is really nice – you have to love a movie that gives a shout-out to Jason Molina and Songs: Ohia – and both Offerman and Clemons, who do their own singing and playing in the movie, are actually pretty good.

Some movies try too hard to be charming but this one pulls it off organically. Certainly you’re being manipulated a little bit but in the end if you walk out of the theater feeling good, that’s worth it’s weight in gold in these troubling times. Incidentally while the movie has opened up in major markets like New York and Los Angeles, it is rolling out nationwide and will be making it’s Orlando debut on June 22nd. You should definitely check it out.

REASONS TO GO: The soundtrack is nifty and the original songs ain’t half-bad. This just might be Nick Offerman’s best work to date.
REASONS TO STAY: The relationship between Sam and Rose is a bit too indie clichéd.
FAMILY VALUES: There is profanity, some drug references and brief sexual content.
TRIVIAL PURSUIT: Offerman and Danson previously worked together in the second season of Fargo for F/X.
CRITICAL MASS: As of 6/9/18: Rotten Tomatoes: 92% positive reviews: Metacritic: 62/100.
COMPARISON SHOPPING: Band-Aid
FINAL RATING: 7/10
NEXT:
The Worker’s Cup