The Big Take


With Zoe Bell, axe and you will receive.

(2018) Crime Comedy (Archstone) Ebon Moss-Bachrach, James McCaffrey, Dan Hedaya, Oksana Lada, Bill Sage, Zoe Bell, Robert Forster, Slate Holmgren, Tara Westwood, John Enos III, Joslyn Jensen, Taylor Gildersleeve, Nick Daly, Matthew Kehoe, Sean David Morton, M.J. Rodriguez, Sandra Docherty, Sid O’Connell, Donna Mitchell. Directed by Justin Daly

 

It goes without saying that movies that go direct to video are generally of a lesser quality than those that do not. However there are exceptions and The Big Take, a crime comedy that is the first feature for writer-director Justin Daly, is one of those.

Faded movie star Douglas Brown (McCaffrey) is plotting his comeback, although a bitter divorce has led him to put all his assets into a bank in Panama to keep them from his vindictive ex. At an exclusive club in West Hollywood, he is accosted by barback Vic Venitos (Holmgren) who pushes a friend’s script called The Night of the Fire on the aging actor but Brown dismisses him in a manner that gives the impression that the movie star is quite the jerk.

Vic doctors one of Brown’s drinks and the actor is forced to make an exit but not before collapsing in a stairwell where an aggressive transgender (Rodriguez) apparently rapes him in a moment of transphobia that may cause those sensitive to such things to squirm (NB: although the incident is never shown, it is intimated that something sexual is happening and while it’s possible that the transgender in question was doing something else awful to Brown most audience members are going to think “rape”). Venitos then arranges to blackmail Brown into financing his film, but in typical neophyte fashion messes it up and writes the blackmail note on the back of the script which includes the writer’s name – Max O’Leary (Moss-Bachrach) – and address.

Brown’s hard-nosed agent Jack Girardi (Sage) puts ex-cop fixer Frank Manascalpo (Hedaya) on the case to retrieve the hard drive that Venitos stole from the club with the original security camera footage of Brown’s moment but the screenwriter’s Ukrainian wife Oksana (Lada) turns out to be pretty competent in hand-to-hand combat and gets the better of Manascalpo who then resorts to hiring nuclear deterrent Edie (Bell), who has a violent temper and a burning desire to be an astronaut and that’s when things get rapidly out of control.

I generally don’t have very high expectations for direct-to-video projects but the cast list should give you a clue as to the higher quality than normal of this one. I’m always happy to see Bell onscreen; not only is she a great action star, she also brings a certain sparkle to every role she inhabits. Forster is one of my favorite character actors as well and his world-weary cop here is a specialty of his. Hedaya is unfortunately far less visible than he was say 20 years ago but he still has the greasy screen presence he’s always had. Moss-Bachrach is essentially the star here; Max is blissfully ignorant of his producer’s machinations and doesn’t understand why his star is sending thugs to his house. Moss-Bachrach (who is credited here without the hyphen) has a bit of a nebbish quality to him but is likable enough to pull it off.

There is a bit of a noir-ish tone here but with a sly wink towards Robert Altman’s The Player and Elmore Leonard. In fact, I wouldn’t have been surprised to find out that this was based on a Leonard novel (it wasn’t) which is pretty high praise. One gets the sense that the same frustrations that Max and Vic feel are frustrations that Daly is no stranger to.

There are some missteps. The soundtrack is less than scintillating with an over-reliance on Trojan ska (Oksana’s character loves to gyrate to the island riddim) and worse industrial club fare which actually detracts from the film. It’s a given that a low-budget film isn’t going to be able to afford the best soundtrack but I’ve seen plenty of films of comparable budgets that have managed to fill their soundtrack with wonderful songs. It’s a shame they didn’t put more time and effort into finding some for this film. Also, these type of caper comedies need to move at a breakneck pace to be effective; this one is a bit too laid-back and as a result doesn’t have the energy it really needs to be truly memorable.

Nonetheless this is a reasonably entertaining crime comedy that doesn’t waste the viewer’s time and while there is some room for improvement, I was pleasantly surprised and can give this a solid recommendation. I could only find a couple of outlets where it’s currently available but Sony’s home video arm is behind it so I wouldn’t be surprised to find it all over the place in the near future. New York City readers can also catch it at the Cinema Village for a brief theatrical run as well but I would suggest you get out to see it quickly; it’s not likely to remain in theaters long.

Editor’s note: The style of music on the soundtrack was misidentified as reggae and has been corrected. Also, at the director’s request, it is pointed out that whatever violation of Douglas Brown occurs is not explicitly shown so that it is possible that the incident is something other than sexual assault.

REASONS TO GO: The movie is surprisingly entertaining. The cast does a strong job.
REASONS TO STAY: The soundtrack is more than a little weak. The energy is a little too low-key for the genre.
FAMILY VALUES: There is plenty of violence and profanity, some brief drug use and brief nudity.
TRIVIAL PURSUIT: Daly is the grandson of the legendary Ingrid Bergman and nephew of Isabella Rossellini.
BEYOND THE THEATERS: Amazon, Vudu
CRITICAL MASS: As of 9/9/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Get Shorty
FINAL RATING: 6.5/10
NEXT:
Rampage

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An L.A. Minute


Your life can change in an L.A. minute.

(2018) Comedy (Strand) Gabriel Byrne, Kiersey Clemons, Bob Balaban, Ed Marinaro, Lynn Renee, Ned Bellamy, Jane McNeill, Katherine Kendall, Craig Anton, Ash Adams, Kimberly Crandall, Brianna Baker, Brad Ashten, Patrick Donohue, J.R. Howell, Anastasiya Mitrunen, Jake Adams, Daniel Guttenberg, David Wood, Jasmine Flanders, Ashley Borders. Directed by Daniel Adams

 

Los Angeles is a dichotomy. Most people think about the glitz and the tinsel, the shining illusions of Hollywood that everyone in Los Angeles is either a gang-banger on the East side or a studio executive in Beverly Hills with a tendency more towards the latter than the former. What outsiders don’t realize is that Los Angeles is a sprawling megalopolis with as many faces as a city of tens of millions of people can muster. Los Angeles is in many ways inherently unknowable even by Angelenos. I grew up there and I can’t claim to know it; it changes aspects when you’re gone from town for a month let alone twenty years.

Ted Gold (Byrne) is a successful author which in L.A. terms means his books become movies. He lives in a Malibu mansion with his wife Susan (Renee) sleeping on the opposite side of a bed that could easily sleep ten and with a personal chef and maid who start off every morning by spitting in his breakfast. That gives you an idea of how highly Ted is regarded by those around him.

That would include his ditzy agent Shelly (Balaban), his beautiful publicist Tracy (Kendall) and his long-suffering wife Susan (Renee). Ted’s latest “masterpiece” is Kinky Cadavers which is about a homeless serial killer. He ventures out from his Malibu mansion to take meetings, do rounds of publicity on radio shows and talk shows, and have lunch with his agent.

When he accidentally loses a lucky medallion, he goes on a journey among the homeless of Los Angeles and discovers a young performance artist named Velocity (Clemons). He is entranced by her forthrightness, her intelligence and her passion. Under her tutelage he will undergo a journey that will transform his life – and hers.

According to the press notes, this script was written 20 years ago and it shows its age. The cliché of Los Angelinos being kale-chomping New Age douchenozzles is older than that still, and while there are a few who are like that it’s really not universally true. Most of the L.A. residents I know are actually pretty down-to-earth. These kinds of stereotypes and jokes aren’t going to resonate much with those who live in the City of Angels although they might give a few yucks to those who don’t.

Byrne is one of those actors who’s a consummate pro; he never turns in a subpar performance and while he’s appeared in a few clinkers in his time, he generally elevates any film he’s in but this is a rare exception and it’s mainly because it’s the way the character is written. There isn’t one sincere bone in Ted Gold’s body and even when he is confessing his urges to give up the crap he’s writing for something more meaningful, it feels fake and forced – some even see it as a ploy to get more books sold and I’d guess Ted is totally capable of it.

Clemons is actually the scene stealer here; as she was in such films as Hearts Beat Loud. What life there is in the movie mainly comes from Clemons character, who is a free spirit yes but who turns out to be not exactly what she appears to be. Even such cringe-inducing dialogue like “He lost his potency because he lost his purpose” is given a measure of respect in the way she says it which is no easy task, let me assure you.

There are some nice touches here, such as interludes between scenes set in the streets are young people dancing to rap songs, while those set in wealthy areas have sprightly pop music and scenes of SoCal splendor. They get points for filming in Skid Row with homeless extras, but they lose their points for doing that for essentially a woe-is-me rich person problems theme that deals with the problems of being famous. That’s pretty tone deaf if you ask me.

Essentially this movie is The Book of Job given a modern secular twist but as interesting an idea as that might be it relies too much on cliché humor, jokes that don’t hit the mark often and a kind of cynical view of “the industry” and those connected with it. There’s a lot of fertile material in taking on the star-making machine and our celebrity-obsessed society but the movie doesn’t reallyharvest any of it; instead the writers play it safe and that’s what we get here, a movie that feels like people (with the exception of Clemons and Byrne) are just going through the motions to collect a paycheck. This isn’t close to unwatchable but it is only barely recommendable

REASONS TO GO: Clemons is a breath of fresh air.
REASONS TO STAY: A little bit (actually, a lot) on the pretentious side and full of L.A. clichés.
FAMILY VALUES: There is plenty of profanity and a bit of sexual content.
TRIVIAL PURSUIT: Mariel Hemingway was originally cast but dropped out just prior to filming.
CRITICAL MASS: As of 8/27/18: Rotten Tomatoes: 0% positive reviews: Metacritic: 15/100.
COMPARISON SHOPPING: L.A. Story
FINAL RATING: 5/10
NEXT:
Iron Brothers

Songwriter


Songs are weird things says Ed Sheeran.

(2018) Music Documentary (Apple Music/Abramorama) Ed Sheeran, Benny Blanco, Julia Michaels, Johnny McDaid, Matthew Sheeran, Fuse Odg, Foy Vance, Ryan Tedder, Murray Cummings, Amy Wadge. Directed by Murray Cummings

 

Some movies are meant to appeal to niche audiences. This particular documentary is going to appeal to Ed Sheeran fans, for example; it isn’t likely to win any new ones and how you receive the film is going to entirely depend on how you receive his music.

Me, I blow hot and cold on Ed Sheeran. He has written some beautiful, amazing songs. He has also written some cliché pop songs that sound like they came off an assembly line. It’s okay – nobody is ever going to write songs in which every single one appeal to you. That just isn’t possible. However, I suppose that dichotomy of admiration has colored my perception enough to make this a mixed review.

The movie takes place during Sheeran’s 2016 hiatus. He had just finished touring off his second album Multiply and was preparing to record his third album Divide. Cummings shoots this entirely on hand-held cameras giving a fly-on-the-wall immediacy but strangely it lacks intimacy. It feels like everyone there is playing to the camera and nobody is being themselves. We rarely get any conversations with any depth to them during the course of the film, which is not a good thing.

That would be all right if there was something interesting going on onscreen but I’m afraid there really isn’t. The songwriting process seems to be Sheeran and various collaborators noodling about on guitars, keyboards or to a computer-generated beat and coming up with snippets of lyrics and couplets of songs. There does seem to be a process of building each song like a child with a LEGO set but oddly Sheeran never comments on the process and even more stupefying is that Cummings never asks him.

This isn’t a Dylanesque songwriter sitting down at a piano or with a guitar and letting inspiration come; Sheeran has collaborators (as many as nine) on each song which I suppose can generate some synchronicity but to be honest, a lot of the songs lack a human kind of spark. Personally I would love to see Sheeran lock himself in a room and let his heart do the writing but given that he proclaims near the end of the film “Anyone who doesn’t want to be bigger than Adele is in the wrong business,” which leads me to retort that anyone who doesn’t want to write songs that illuminate, or touch the heart of the listener is in the wrong business as well.

Keep in mind that Sheeran is a young man who achieved extraordinary success at a young age and perhaps his priorities are skewed because of it. He seems an affable young man with an easy grin and there are at least two songs on the album that I thought were incredible but most of the others were to put it bluntly sounded alike. The problem with modern music is that too many artists rely on formulas to create hits rather than revealing something of themselves. Formulas are easy; insights are hard and the latter are almost non-existent here.

Still, some of the musical sequences are lovely (particularly a heartwarming moment when he records at Abbey Road) and some are just goofy, most of that supplied by producer/songwriter/partner-in-crime Benny Blanco whose fear of flying causes him to take a transatlantic cruise ship. Sheeran tags along and the men turn one of the larger suites into a recording studio for the voyage which sounds better on paper than it does on film. This is not a great documentary but it’s an adequate one. Maybe that’s the best we could have expected.

REASONS TO GO: Sheeran fans are going to adore this.
REASONS TO STAY: I didn’t really find any insight into the songwriting process.
FAMILY VALUES: There is a fair amount of profanity.
TRIVIAL PURSUIT: Cummings is Sheeran’s cousin; the two have been close friends since childhood.
CRITICAL MASS: As of 8/17/18: Rotten Tomatoes: 60% positive reviews. Metacritic: 40/100.
COMPARISON SHOPPING: Nick Cave: One More Time With Feeling
FINAL RATING: 6/10
NEXT:
Minding the Gap

Bright


Not your two ordinary cops.

(2017) Fantasy (Netflix) Will Smith, Joel Edgerton, Noomi Rapace, Edgar Ramirez, Lucy Fry, Veronica Ngo, Alex Meraz, Happy Anderson, Ike Barinholtz, Dawn Olivieri, Matt Gerald, Margaret Cho, Joseph Piccuirro, Brad William Henke, Jay Hernandez, Enrique Murciano, Scarlet Spencer, Andrea Navedo, Kenneth Cho, Bobby Naderi, Carlos Linares, Bunnie Rivera. Directed by David Ayer

 

This Netflix film, released last Christmas, is a perfect example of the dichotomy between critics and audiences. Film critics hammered the film, calling it confusing and preposterous. Audiences loved it, making it one of the most watched non-theatrical movies ever. Netflix called for a sequel which is likely to be on the streaming giant’s front page in two to three years.

Smith, one of the most appealing actors in Hollywood for the past two decades, stars as a bitter and curmudgeonly L.A. cop who has a new partner that he doesn’t want. That sounds like the plot to dozens of cop buddy movies but this one’s a little different – it turns out his partner, Nick (Edgerton) is not just a different ethnicity. He’s an Orc – a completely different species.

The two are on the trail of a magic wand so powerful that whoever wields it can essentially bend the world to their will. Fortunately, only a select few can actually wield the wand; these worthies are called “Brights” and they only appear once every generation or so. Also on the trail of the wand is a bunch of corrupt cops, a gang of Orcs (who are portrayed here essentially as low-riding gangbangers) and an evil elf named Leilah (Rapace). Assisting Nick and Daryl (the Smith character’s name) is a less corrupt elf named Tikka (Fry).

There are some pretty decent effects here and Smith has never been so badass as he is in this film. I’m not kidding when I say that this is his best performance in a decade. Daryl walks around in a perpetually foul mood, like there’s a rock in his shoe he can’t quite get rid of or he has a particularly painful case of hemorrhoids. Either way, he’s far from cheerful; he’s like the anti-Fresh Prince.

It should come as no surprise that Max Landis wrote this; one of the things he does extremely well as a writer is world-building. The world of Bright is believable despite the mash-up of high fantasy and urban crime drama. There is a lot of detail and one gets a lot more detail that didn’t make it into the script. This is the kind of thing that can turn a single picture into a franchise.

David Ayer is the perfect director for this. Not so much for the fantasy elements although he is just fine with those but there are few directors who intuitively understand the workings of an urban crime drama like Ayer, whose previous credits include Training Day (as a writer), End of Watch, Harsh Times and Street Kings.

I don’t understand all the critical hate; this is really a good movie but I suppose this kind of fantasy mash-up isn’t for everybody. Still, I found it not just solidly entertaining but actually absorbing. This is one I wouldn’t mind seeing regularly (I’ve already watched it several times since it debuted). As far as I’m concerned, I only wish that this movie had a more widespread theatrical run; I would have liked to have seen it on a big movie theater screen. Ah well, if wishes were horses…there would undoubtedly be a few of them trotting around in the world of Bright.

REASONS TO GO: The filmmakers do an excellent job of world-building. Will Smith is at his badass best in this one.
REASONS TO STAY: The final action sequence is a bit disappointing.
FAMILY VALUES: There is plenty of profanity, fantasy violence and some nudity.
TRIVIAL PURSUIT: With a $90 million production budget, this is the most expensive Netflix movie to date. Also, it is the first Netflix film to generate a sequel which was signed shortly before the movie was released to the streaming service.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 6/29/18: Rotten Tomatoes: 26% positive reviews: Metacritic: 29/100.
COMPARISON SHOPPING: Alien Nation
FINAL RATING: 7/10
NEXT:
Three Identical Strangers

Izzy Gets the F*ck Across Town


Izzy may be a hot mess but at least she’s green.

(2017) Comedy (Shout! Factory) Mackenzie Davis, Alia Shawkat, Haley Joel Osment, Carrie Coon, Keith Stanfield, Annie Potts, Brandon T. Jackson, Sarah Goldberg, Lauren Miller, Melinda McGraw, Ryan Simpkins, Alex Russell, Bob Huebel, Dolly Wells, Kyle Kinane, Luka Jones, Sheldon Bailey, Marcia Ann Burrs, Michelle Haro, Meghan Lennox, Salme Geransar, Robert Santi, Rebecca Kessler. Directed by Christian Paperniak

 

I think that everyone has that certain someone in their lives, someone who always manages to find a way to say or do exactly the wrong thing, a person who is chronically broke, always needs a favor and can be counted upon to throw up on your sofa after a party. We keep them in our lives despite all these days because we know deep down they mean well and that there is a better person inside just screaming to be let out.

Izzy (Davis) is that kind of girl. She is described in the press material quite accurately as a shameless hot mess; she wakes up in a stranger’s bed remembering hardly anything of the night before other than that she got in an altercation with her boss at a catering company. Izzy, a now-unemployed musician sort, has been crashing on the sofa of a friend but still pines for her ex-boyfriend Roger (Russell). It just so happens he’s celebrating his engagement to Izzy’s former best friend (Goldberg) that very evening in Los Feliz. Izzy is all the way out in Santa Monica which, if you know your L.A. geography, is quite the hike. With her car out of commission and flat broke (because she paid every last cent she had to get the car fixed but the parts tragically haven’t arrived yet), she’ll have to by hook or by crook get her happy tush across town in time to win back her ex and live happily ever after. Izzy is frantic but at the same time she thinks it’s her destiny. Then again, Izzy is a bundle of contradictions.

Mackenzie Davis is an exceptionally fine actress but even she can’t make Izzy much of a likable character. Izzy has no filter and takes no responsibility for all the things she has done or failed to do to get herself in this position. She and her sister Virginia (Coon) were in a band once together but while Izzy continued to drink and fritter her life away, Virginia sobered up and began to live a life of her own. This has pissed off Izzy something fierce and she blames a lot of her lack of success on Virginia leaving the band. There is a sweet moment where the two sisters sit down and cover a Heavens to Betsy song “Axeman” and for a moment you can see the connection between them. The moment is fleeting however but authentic nonetheless.

The supporting cast is impressive, with Osment as a tech guy who gives Izzy odd jobs from time to time and appears to be at least as far from together as Izzy is; Potts is one of the rare kind people in the film; Shawkat is one of Izzy’s friends (Izzy complains about not knowing anybody in L.A. but for someone who doesn’t know anybody she sure has a lot of friends) who calmly enlists Izzy’s help in breaking into one of Agatha’s friends houses and robbing it for her meth-head boyfriend Rabbit (Kinane). Jackson is Dick, the guy repairing Izzy’s car which may or may not be in as bad a shape as he lets on; Stanfield is the hunk Izzy wakes up next to at the start of the film.

The pace is frenetic and the soundtrack that accompanies the film is pretty damn good. Where the film goes wrong is really the dialogue; everyone sounds like they’re refugees from a sitcom which I guess makes Izzy the Third Broke Girl. There is so much potential here that it hurts when the writing gets bogged down with snappy dialogue that rings false, and quirky characters that just about scream indie hipster character clichés. I really wanted to like this movie more but after spending an hour and a half with Izzy I felt burned out, like I’d spent a similar amount of time in the dentist’s chair. I do like some of the writer/director’s ideas and I feel that there is some potential there – the movie isn’t a washout by any means – but he needs to start writing dialogue that sounds like actual people talking. Maybe he needs to watch a little less television and hang out with actual people – and not Hollywood people, I mean actual people – and listen to what they have to say. That would make for a far more interesting and unusual movie than this one.

REASONS TO GO: The soundtrack is decent.
REASONS TO STAY: Izzy is so unpleasant that you really just want her to get hit by a bus. The dialogue is too self-aware and too sitcom-like.
FAMILY VALUES: There is a whole lot of profanity, some sexual references and drug content.
TRIVIAL PURSUIT: Haley Joel Osment’s character in Secondhand Lions was also named Walt.
CRITICAL MASS: As of 6/22/18: Rotten Tomatoes: 50% positive reviews: Metacritic: 63/100.
COMPARISON SHOPPING: Funeral Day
FINAL RATING: 4.5/10
NEXT:
Red Sparrow

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

Six LA Love Stories


Love can be exhausting.

(2016) Romantic Comedy (Random Media) Beth Grant, Matthew Lillard, Stephen Tobolowsky, Carrie Preston, Alicia Witt, Peter Bogdanovich, Ashley Williams, Michael Dunaway, Ross Partridge, Marshall Allman, David Claassen, Jennifer Lafleur, Michael Milford, Davie-Blue, Hayley Polak, Mitch Swan, Don Most, Savannah Remington, Kayla Swift, Ogy Dunham, Summer Rose Ly, Jamie Anne Allman. Directed by Michael Dunaway

 

The rest of the country has a kind of love-hate relationship with Los Angeles. Some admire the beautiful beaches and the energy that has made it one of the world’s great cities. Others decry the shallowness that comes from essentially being a Hollywood company town. Still, like every town, city, megalopolis and village around the globe, love occurs on a daily basis.

This film takes place on a single day in sunny Southern California and follows six different couples, all at varying stages in their relationship. None of the stories are interconnected and all have just one thing in common; a couple either falling in love, deeply in love, or falling out of love.

At a pool party at a Hollywood producer’s mansion, Robin (Williams) bitches on her phone about her air-headed sister while Wes (Partridge) overhears. The two strike up a conversation and although Robin initially reacts with distaste, she soon finds that she and Wes have a lot more in common than she thought.

Alan (Lillard) arrives home early from work to discover his wife Diane (Preston) having sex with another man. Infuriated, then deeply wounded, Alan struggles to find out why she betrayed him like that; Diane’s answers aren’t what he expects nor are they necessarily what he really wants to hear.

Amanda (Lafleur) is the stage manager at a self-help convention event where multiple speakers are given a limited amount of time to address the audience. As Duane (Bogdanovich) goes up, Amanda is confronted with her ex-lover Camille (Dunham) who is getting ready to speak. As Amanda seems to be okay with things the way they are, Camille has something she specifically wants to say to her.

Mara (J.A. Allman) meets up for a drink with her ex-boyfriend Pete (M. Allman) whose acting career has stalled and has decided to take a stab at screenwriting instead. As Pete describes a recent meeting with a studio exec, Mara is reminded of all the things that led to their break-up but can’t quite deny that there isn’t a spark there.

Terry (Witt) visits her ex-husband Nick (Dunaway) to discuss the schooling options for their daughter. Nick appears to have moved on from their amicable divorce but Terry clearly hasn’t. Her feelings of anger towards her ex hide something much deeper and much less unpleasant inside her.

Finally, John (Tobolowsky) is the only tourist on the tour of the Will Rogers estate with Meg (Grant), a guide there. While they are initially at odds with each other – John is a college professor who also writes books for a think tank on Rogers and is a bit of an insufferable know-it-all – Meg senses that she can supply something that John may need even more.

The moods on the various vignettes vary from overtly humorous (Meg-John) to bittersweet and dark (Alan-Diane) to surprising (Terry-Nick). Like most ensemble pieces, the quality varies between the stories, ranging from authentic (Alan-Diane) to goofy (Meg-John) to downright unrealistic (Meg-John). The cast is pretty solid though and the performances are generally reflective of that, although Lillard and Preston essentially steal the show in their vignette which is very much the best of the six. While I liked both the Meg and John characters and the performances by Grant and Tobolowsky, I just didn’t connect with their story which seemed tonally at odds with the other five. The one that the director appears in as an actor oddly enough was for me ironically the weakest vignette of the six.

This was originally released on home video back in 2016 but was re-released last month by Random Media who apparently cleaned up some sound issues (reviews from the original release complained about the sound but I didn’t notice any problems with it). While it is reminiscent of Love Actually in terms of subject matter, this movie first of all doesn’t have the interconnection between the stories that film has which while totally not a bad thing, I found myself wondering why they needed a full length movie (albeit one only an hour and 20 minutes long) for this movie when six individual short films might have worked better. Besides, London at Christmastime trumps L.A. in the summer anytime.

The Alan and Diane story is the one worth seeing but because the six stories are intercut together, you have to watch the other five as well and while none of them are painful to watch, none of them approach the quality of the Alan-Diane saga so keep that in mind. Otherwise a solid effort by a first time narrative feature writer-director.

REASONS TO GO: The dialogue is generally pretty well-written.
REASONS TO STAY: The quality between vignettes varies.
FAMILY VALUES: There is profanity and some sexual content.
TRIVIAL PURSUIT: Bogdanovich appears at the behest of his daughter Antonia who is a producer on the film.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, YouTube
CRITICAL MASS: As of 6/6/18: Rotten Tomatoes
COMPARISON SHOPPING: Love Actually
FINAL RATING: 6/10
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Hearts Beat Loud