Hamlet in the Golden Vale


Sometimes the play is not the thing.

(2019) Drama (Random MediaTaylor Myers, Pat Dwyer, Elise Kibler, Constantine Malahias, Anthony Vaughn Merchant, Jonathan Hopkins, Yurly Pavlish, Beth Ann Hopkins. Directed by Dan Hasse and Taylor Myers

 

Of all of the Bard’s plays – and there are many – perhaps his best is Hamlet. The brooding Dane is one of his most memorable characters as he explores the ambiguities of human nature and the slings and arrows of outrageous fortune. It is a dark and often pessimistic play but it is powerful nonetheless.

The Roll the Bones theatrical company has undertaken to stage a version of Hamlet unlike any ever seen before. The company portray actors playing the parts of Hamlet as they settle into an Irish castle for atmosphere (as well as a local farmhouse and surrounding countryside). As the characters and the actors begin to merge, the film takes a decidedly shaded turn. I will give the company props for trying something, as Monty Python might have put it, completely different.

The film is dimly lit in the main and the cinematography is often murky. I know the play is dark, but that doesn’t mean that it shouldn’t be lit. That may well have been a function of location but still the final product is what matters and it is easy to miss nuance when everything is in shadow.

In all honesty while the acting is pretty solid, Myers as Hamlet isn’t going to make anybody forget Olivier nor is that his intent, I’m sure. Still, he’s not likely to make anybody forget Mel Gibson’s Hamlet either and that might not necessarily be a good thing. That’s not to say his performance is mediocre – it’s just not outstanding, and the play really could use an outstanding Hamlet.

There are some powerful scenes here – particularly the one where Ophelia (Kibler) meets her final fate – and I will grant you, even dimly lit the location is absolutely stunning. I’m not exactly sure who to recommend this to, though; Shakespeare fans might find this a little outside their comfort zone and those who aren’t into Shakespeare aren’t likely to give it a chance anyway. Still, if you click on the photo above, it will take you to the company’s website where you can check out their brief VR version which might be something new and interesting for you. It might also give you the inspiration to see the full movie as well.

REASONS TO SEE: Points for giving the venerable play a different take.
REASONS TO AVOID: Murky cinematography and at times confusing casting makes this occasionally hard to sit through
FAMILY VALUES: Like every Hamlet, there are some adult themes.
TRIVIAL PURSUIT: Many of the actors are portraying more than one role; Malahias portrays both Rosencrantz and Guildenstern simultaneously as twins.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Vimeo, YouTube
CRITICAL MASS: As of 11/27/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Hamlet
FINAL RATING: 5.5/10
NEXT:
Mission: Impossible – Fallout

Tomorrow, Maybe


Father doesn’t always know best.

(2017) Drama (Random MediaRobert Blanche, Bethany Jacobs, Grant Davis, Brian Sutherland, Robert McKeehan, Garfield Wedderburn, Erin Hagen, Pamela O’Hare, Kyle Vahan, Todd A. Robinson, John Branch, Roy Frank Kirk 1st, Jeffrey Arrington, Jace Daniel, Alysse Fozmark. Directed by Jace Daniel

 

Making amends is no easy thing. It is, first and foremost, an admission of wrongdoing, taking ownership of mistreatment. Taking ownership of our less proud moments is difficult even for the saintliest among us. The hardest part, however, is often getting those we have wrong to allow us to make amends in the first place.

Lloyd (Blanche) has just been released from prison and is a changed man  He realizes full well that he has wasted most of his life to petty criminality and drug abuse. The relationship with his daughter Iris (Jacobs) is certainly strained; he essentially abandoned her early on and she has been disappointed by him again and again and again, ad nauseam.

Lloyd is looking to leave his past behind him and start a new life on the straight and narrow. In so doing, he hopes to get a second chance with his daughter and become a part of her life. She is understandably reluctant to trust her dad but gradually his sincerity begins to win her over.

He’s picked a pretty good time to return to her life; her husband Bobby (Davis), a cop, has developed a savage drinking problem and is spiraling out of control. He has begun to get violent and Iris doesn’t know what to do about it. Lloyd wants to help salvage things with her husband but things get so bad that Iris kicks Bobby to the curb. Bobby is growing more irrational by the day and blames Lloyd for the issues between him and Iris, believing that Lloyd is turning his daughter against him. The three are on a collision course with tragedy if they’re not careful.

Actually, the film is essentially told in flashback form with audiences being told somewhat of the crowning incident which I will not spoil here even though the filmmakers sort of do. That’s a bit of a tactical error; the director/writer Daniel is trying to pull off a twist in the plot but I think it would have been more effective if we didn’t have an inkling of what all this was leading to.

Otherwise, the movie gets kudos for tackling domestic abuse in a realistic way as well as the issues of making amends. Yeah, at times the film goes for easy answers rather than slogging through some rough emotional terrain while at other times Daniel seems quite willing to do that. Those moments tend to be the highlights of the film.

The three leads need to deliver powerhouse performances and they aren’t quite up to the task. Blanche fares best, giving Lloyd a rough-hewn charm, a man clearly reaching out and a bit confused by the vagaries of life. It’s hard not to root for him and while we clearly understand that his difficulties are largely his own doing, you end up hoping his daughter will give him that chance he so desperately desires.

Jacobs is less successful but truth be told is given less to work with, even though she’s the emotional center of the film. As a woman who has been consistently let down by the men in her life both as a child and as an adult, there is a wariness and a weariness to her manner but at times Jacobs is a bit flat in her line delivery. Davis is a little bit in the middle although it is essentially a thankless role; Bobby turns out to be a fairly irredeemable a-hole so even when we learn the source of his pain, his rage and his drinking, there’s not a lot of sympathy there.

The movie’s tiny budget is evident; often the scenes are underlit or might have used a few more takes. Still, as independent dramas go this one isn’t bad. It’s not Oscar material by a long stretch but it at least has a certain amount of ambition and seems to have at least honest intentions. Not all indie films can claim that.

REASONS TO SEE: Blanche gives a solid performance.
REASONS TO AVOID: Has a tendency to go for easy answers.
FAMILY VALUES: There is a fair amount of profanity, some violence and a scene of sexuality.
TRIVIAL PURSUIT: The three leads all at one time or another appeared in the TV series Grimm.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 8/26/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Sleeping With the Enemy
FINAL RATING: 6/10
NEXT:
The Peanut Butter Falcon

The Buskers & Lou


The slack life.

(2014) Drama (RandomMarshall Walker Lee, Megan Carver, Tyler Andre, Margaret Douglas, Robert Thrush, Jordan Wilgus, Steven Felts, William H. Wilson, Nickolas Mitchell, Ethan Zinn-Brown, Luke Potter, The Crow, The Wolf, Wes Lysiak, Skylar Jensen, Shay Bjorndahl, Perla Bonilla, Erin O’Connor, Alexandra Metaxa, Katerina Georgiou. Directed by Alex Cassun

 

Welcome to being a grown-up. I know it’s not something you particularly wanted to do; it just happened. There’s no real prize for getting here and it tends to be a pain in the you-know-where. For your trouble, however, you get free elevated stress levels. Isn’t that nice?

Lou (Lee) returns to his home town of Portland after an absence of an unspecified number of years; his friends are at first happy to see him back but more as a curiosity and Lou isn’t really forthcoming about where he’s been and why he’s back. Some, of course, are happier to see him than others.

Lou had been a street musician, playing for pocket change and using what he made “busking” for what things he needed – mainly food and alcohol. He’s determined not to resume that lifestyle however; he wants a job and a life, but considering that he’s never really had gainful employment before it’s not easy to find anything other than a dead-end minimum wage job which he takes.

Lou is crashing for now in his friend Jackie’s (Carver) van where she also lives; the two are, as friends in close quarters often will, start to get on each other’s nerves. Lou spends time talking to a therapist (Wilson) on a park bench when he’s not trying to navigate the rat race, much to the contempt of his friends.

You see, they are all continuing to busk and live life on their own terms and are all the happier for it. They have an event to look forward to; ten years prior they (including Lou) had buried a time capsule in the yard of a house some of them owned. They have decided to dig it up and are organizing a party, called “The Big Dig” to celebrate it. Lou has been inviting but he is often a no-show for things that he is invited to these days.

I don’t think I’ve seen a movie that made me feel quite so much like a crotchety old man in quite some time. This is a young person’s film dealing with young person’s issues and there is absolutely nothing wrong with that. Happiness is important to these characters as it is indeed to all of us; most of us in the rat race aren’t necessarily there because we don’t want to be happy. Even mind-numbing make-work kinds of jobs can occasionally give us a feeling of satisfaction and/or accomplishment though.

There is almost a contempt for people who work here at times an that might be irritating to those who actually, you know, work. Portland can be a great place for street musicians but not all of us live there; I get that the artistic mentality is different from that of the working class and just as valid in its own way but I can see how those who work hard just to tread water might be a little bit insulted by this.

The performances are pretty decent considering that the cast is largely locals and unprofessional. I suspect Cassun comes from a musical background because his soundtrack choices betray a really good ear. The problem I had is that I couldn’t get into most of the characters; there was nothing here for me to grab onto and as a result I found myself less and less enthused about finding out what happens to Lou and his friends. By the time the Big Dig rolls around, the mystery behind Lou’s disappearance is revealed (you should be able to figure it out) and I didn’t really care very much about it to begin with.

I try to give low-budget indies a pass for the most part and it’s plain to see that the director invested heart and soul into this film but sometimes that isn’t enough. I need to be invested in the lives of the characters; I need to care about what happens to them. I need to be excited about what comes next. None of that ever happened during the film. As you can tell by the release date, it’s been bopping around the Festival circuit and otherwise sitting on the shelf for five years until Random Media got hold of it for home video release. They believe in the film and maybe you will to once you see it but this was one I never found myself connecting with.

REASONS TO SEE: Tackles the age-old question of happiness versus adulting.
REASONS TO AVOID: A little bit of a bore.
FAMILY VALUES: There is a fair amount of profanity.
TRIVIAL PURSUIT: The house where the “Big Dig” takes place is actually the rehearsal space for the Portland-based band Typhoon.
BEYOND THE THEATER: Amazon, Google Play, Vudu, YouTube
CRITICAL MASS: As of 8/11/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Portlandia
FINAL RATING: 5/10
NEXT:
Them That Follow

Lamp Light


The look on your face when you’re late for work due to a tunnel collapse.

(2016) Thriller (RandomMason Rey, Joel P.E. King, Kelly Frances Hager, A.J. Sweatt, Chelsea Christopher, Dr. A. Goodwin, Nathan Goss, Rebecca Torres. Directed by Mason Rey

 

There was a joke going around some years ago: Ever have one of those days? Well, I have one of those lives. That can truly be said about Don Gos (Rey), a telemarketer trying to shill for investors into a precious metals company. Most of the people he speaks to aren’t exactly overjoyed to be speaking with a telemarketer which is pretty much true for all of us, even telemarketers. Still, he handles the abuse and the snide comments with as much grace as he can muster.

Afterwards, he gets to go home but not to a loving family but to an empty apartment. Don’s love life is all online with a girl named Olive he’s never met and frankly, considering the way things are going, probably never will. To say the least Don has some self-confidence issues.

On the way to work the next morning he decides to take the scenic route, trying to delay his arrival at the office for as long as possible. Not to He goes through a tunnel – which promptly collapses on top of him, burying him alive inside his car. At first, he thinks this will be a temporary inconvenience but as the hours pass by he realizes that help may well be on the way but it might not arrive in time. The car’s chassis has protected him thus far but the weight of the mountain on the steel encasing hi is beginning to take its toll and it seems only a matter of time before he’s crushed to death.

Don’s beginning to freak out more than a little bit until he hears the voice of a fellow survivor – Gym (King) who is not far away but unable to move any closer. The two get to talking and little by little Don begins to take a hard look at his life and his choices – and particularly to what happened to his marriage and why his wife (Hager) isn’t around anymore.

In this kind of cinematic situation, Hollywood tends to want heroic figures in peril and this surprisingly goes a different route. Not to knock Mason Rey but he is far from the action hero mold; he’s more of an everyman, not in great shape and a little bit too much into geek things. It’s not that he isn’t good looking, it’s just he isn’t the sort that is going to dig his way out of this with a plastic spork and a drinking straw.

I guess you can go as far as to say that this is an “in-action” movie rather than an action movie. All but the first 20 minutes is set in the interior of a crushed car and that doesn’t allow for a lot of camera movement., so most of the film we are stuck staring at Rey doing various things to pass the time, from taking stock of his food and water to drawing figures on the car to trying to dig his way out. There isn’t a lot for Rey to do but chat with the disembodied voice of Gym and that leads us to watch as Don’s grip on sanity begins to get somewhat loose. Rey is compelling given the circumstances but fair warning, some are going to find the film a bit too static.

=And it does move pretty slowly. This is a character study in which we essentially are trapped in Don’s head along with him. There are some flashbacks but for the most part this is the Mason Rey show, which considering he also wrote and directed this isn’t too surprising (if you looked carefully at certain festival screenings he was also selling popcorn in the lobby). Fortunately, Rey has enough presence to back it up so it doesn’t come off as auteur ego.

=There are some plot malfunctions that are a bit glaring; for example, one would think that Don would be in greater danger from asphyxiation than being crushed to death. He does an awful lot of talking which would fill his limited air supply with carbon dioxide but that aspect doesn’t seem to be addressed unless you attribute some of the of the sanity issues to hypoxia rather than stress. In any case, that isn’t made really clear. There are a couple of others but I won’t go into detail as they would constitute spoilers and this is a good enough film that it doesn’t deserve to be ruined by a venal critic trying to make a point.

Yes, this is a film I’d actually recommend with some caveats. It is ponderously slow and is more of a cerebral film than an action-oriented one so even if the buried alive aspect intrigues you, the approach may not be to your liking. Nonetheless there are some compelling features that make this flawed but ultimately satisfying film worth a look.

REASONS TO SEE: Mason Rey is a fairly compelling lead.
REASONS TO AVOID: Awfully slow-moving and not a lot of action.
FAMILY VALUES: There is some profanity as you might expect from someone being slowly crushed to death.
TRIVIAL PURSUIT: The film premiered at the Atlanta Film Festival in 2018.
BEYOND THE THEATERS: Amazon, Google Play, iTunes
CRITICAL MASS: As of 8/2/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Daylight
FINAL RATING: 6/10
NEXT:
Unmasking Jihadi John: Anatomy of a Terrorist

Magic Molecule


A notice of judicial ignorance.

(2018) Documentary (RandomEric Sterling, Ricky Williams, “Freeway” Ricky Ross, Jade Jerger, Lelah Jerger, Mauro Lara, Joshua Camp, Rebecca O’Krent, Steven Figueroa, Dr. Tim Shaw, Matt Herpel, Chris Conte, Cheyenne Popplewell, Steve Gordon, Matt Chapman, Jesse Danwoody, Jim Tomes, Angel Mack, Ashlyn Scott, Zac Hudson, Heather Jackson   Directed by Dylan Avery

 

When people think of cannabis, they think of getting stoned for the most part. They think of midnight munchies and that mellow feeling that weed can bring. However, what they’re really thinking of is THC, the oil in cannabis that is psychoreactive. Not all marijuana has that property.

Hemp is a form of marijuana that is actually far more useful than recreation. Its fibers make an excellent building material; it also contains an oil called CBD that is proving to have some amazing medicinal uses, from controlling seizures to shrinking tumors to relieving chronic pain.

In an era where Big Pharma seems to have a stranglehold on modern medicine, CBD oil has shown to be almost a miracle drug, helping all sorts of people in all sorts of places. However, the stigma of marijuana being a recreational drug has created obstacles to the acceptance of CBD as a legitimate medicinal drug.

There is a lot of ignorance out there about what CBD oil is, and a lot of it is at a legislative and legal level. Even states where the sale and possession of CBD oil is legal (like Tennessee, so long as there is less than 3% THC) have seen raids by law enforcement, shutting down 23 businesses in Franklin County alone for selling something that is absolutely legal in the state of Tennessee.

This documentary presents a parade of anecdotal evidence as to the efficacy of CBD oil. It also presents cases like the Jerger family of Indiana, who were threatened with having their child taken away from them because they were using CBD oil to treat her illness, even to the point where they forced the two-year-old child to have blood draws regularly to make sure that she was taking the pills that she had been prescribed rather than the CBD oil which worked better. Even after the Indiana legislature stepped in, the harassment continued to the point where the family felt compelled to move to Colorado in order to continue the treatment that there daughter needed.

There are a few interviews with experts like Eric Sterling, who helped formulate drug policy back in the “Just Say No” era of Nancy Reagan and who is now an advocate and activist for legalization. There’s also former NFL quarterback Ricky Williams, who used the oil to assist with injuries incurred during his pro football career and who now advocates meditation and yoga along with CBD for athletes and injuries.

The movie is essentially a one hour advertisement for the benefits of CBD oil and in all honesty there’s nothing wrong with that. You won’t find a whole lot of objectivity here. While the film does admit there hasn’t been much study of the properties of CBD oil – and shows at least one grower’s attempts to create a lab in order to do just that – there really isn’t a lot of dissent here; there aren’t any folks who have used CBD oil with little or no effect. Everyone who is onscreen has a miraculous story to tell and frankly folks, it doesn’t work for everyone quite that way. Still in all, the film does offer a lot of anecdotal information, so much that it is hard to ignore. It also, sadly, reiterates that while great strides are being made in reassessing our attitudes towards marijuana both recreationally and medicinally, there are still those in power who have yet to catch up.

REASONS TO SEE: Shows that although attitudes towards CBD is changing, there’s still a lot of misinformation out there.
REASONS TO AVOID: Way too many talking heads for a one-hour documentary and a bit on the hagiographic side.
FAMILY VALUES: There is some peril and one difficult scene in which one of the men is forced to put an alpaca out of its suffering.
TRIVIAL PURSUIT: Avery is best known for his 2011 documentary Loose Change.
BEYOND THE THEATER: Amazon, Google Play, iTunes, Microsoft, Vudu
CRITICAL MASS: As of 7/24/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Weed the People
FINAL RATING: 6.5/10
NEXT:
Offside

Captain Black


Are you talkin’ to me?

(2017) Dramedy (Random) Jeffrey S. S. Johnson, Linara Washington, Georgia Norman, Charley Koontz, Joaquin Camilo, Kirsten Roeters, Liesel Kopp, Mackenzie Astin, Michael Marc Friedman, Reece Rios, Nico David, Carla Tassara, Robert Maffia, Lauren Campedelli, Dylan Lawson, Parvesh Cheena, Scott Krinsky, Ashley Dowling, Katherine King. Directed by Jeffrey S.S. Johnson

 

Superheroes occupy a unique place in our society. They represent the best within us, the desire for justice and goodness, the noblest aspects of our beings and the achievement of the impossible. We mostly all aspire to be heroic in some way, shape or form – and some of us aspire to the super-powered aspect of heroism.

Mike (Johnson) is a manager at a suburban chain restaurant that has a Mexican theme. It’s the kind of place that whenever a patron has a birthday, the staff gather to sing their own version of “Happy Birthday” in a way that people like me cringe at. You’ve probably been to several just like it.

Although Mike seems to be a pretty decent guy, it would be a stretch to say that there’s anything particularly noble or heroic about him. When an obnoxious customer confronts him, he backs down rather than standing up for what’s right. While he’s aware that his neighbor (Kopp) is being abused by her husband, he doesn’t act on it, allowing the abuse to continue even as he bonds with her son (David). He mourns the loss of both his parents but remains estranged from his sister Brie (Roeters).

One night one of his waiters (Camilo) eaves a bag of comic books behind. Intrigued by the four-color covers, he brings them home and becomes immersed in the world of Captain Black, a kind of Batman style of hero, as well as his super sexy partner Kitt Vixen who in one of the movie’s better joke sequences, Mike discovers that there is a porn site dedicated to the character. Still, the mild-mannered restaurant manager begins to find some self-confidence especially as he repeats the Captain’s axiom: “Life is precious. Life is fragile. Be your own ally!” Mike can particularly relate to this given everything happening around him.

For a Halloween party he is inspired to create a homemade Captain Black costume. There he meets a young woman (Norman) wearing a Kitt Vixen costume. The two find a mutual attraction and head out to the garage for a quick, frantic coupling. This seemingly innocent act would turn out to have a profound effect on Mike’s life.

The movie starts off with kind of a suburban vibe, fairly laid back but takes an unexpected turn towards the serious. Johnson, who wrote, directed and starred in the movie, handles both sides of the equation fairly well, giving Mike a good deal of heart but also having him grapple with issues that are very real and very rough. I don’t want to give too much away but suffice to say that the movie will come off as a bit of a warning about one-night stands and the damage that can result from them.

Movies like this have to walk a very fine line; on the one hand it has to deal with a sensitive subject without diluting the impact of that subject but on the other hand, it has to be light enough that the film doesn’t end up drowning in darkness which it could have easily done. The topic is an extremely emotional one and it is handled with emotion, with that emotion given the respect it deserves. It’s a very fine work particularly given that it is the first feature Johnson has done.

I won’t say I was blown away by this film completely; the ending is a bit of a letdown at least for me and some of the supporting characters could have used a bit more depth, but the relationship between Mike and his friend Kris (Washington) is a special, realistic one that enhances the movie rather than detracting from it. It makes me wonder if Washington and Johnson had a friendship outside the movie prior to filming. This is the kind of movie that flies under the radar for no good reason but the lucky ones among us who are willing to take chances may well discover a quality gem. Seek this one out for sure.

REASONS TO SEE: The film starts out unassuming and quiet but turns grim and strange towards the end. Johnson delivers a really good performance.
REASONS TO AVOID: The ending was a bit off-note.
FAMILY VALUES: There is a scene of sexuality and some profanity.
TRIVIAL PURSUIT: Johnson is best-known for being the voice in the T-Mobile commercials for the past six years.
BEYOND THE THEATER: Amazon, Google Play, YouTube
CRITICAL MASS: As of 7/20/19: Rotten Tomatoes: No score yet: Metacritic: No score yet
COMPARISON SHOPPING: Super
FINAL RATING: 7.5/10
NEXT:
Rondo

Destination Dewsbury


Would you pick these men up from the side of the road?

(2018) Comedy (Random) Matt Sheahan, David J. Keogh, Dan Shelton, Tom Gilling, Helen Rose-Hampton, Michael Kinsey, Kevin Dewsbury, Maurice Byrne, Denis Khoroshko, David McClelland, Leslie Davidoff, Michael Fawbert, Margot Richardson, Filip Mayer, Velton Lishke, Sharon Heywood, Sharon Spink, Val Punt, Lauren Woods, Graham Daw, Jane Hollington, Anna Dawson. Directed by Jack Spring

 

Some of my readers in their teens and twenties (assuming I have any) are going to have a hard time relating to this but the friends you are inseparable with in your youth tend to drift away as you get older. Very rare is the case where someone other than family is involved on a regular basis in your life from the time you’re in school to the time you’re middle aged. Still, the fact is that we bring our younger selves with us wherever we go and we tend to revert to them when in the company of friends from our youth. This is particularly true with men.

Peter (Sheahan) has watched his life collapse around him in a matter of a few days. His wife has essentially thrown him out, claiming he’s simply not man enough for her – and she has a point on that score. Peter, who is also our semi-reliable narrator, has a spine with the consistency of Jell-O. He is teaching school where he and his mates once attended and he is something of a joke.

That is, until Richard (Byrne) arrives in his classroom to tell him that his son is dying. Richard’s son Frankie (Kinsey) was something of a ringleader for the boys, by far the coolest of the lot and a good friend to them. Peter is shocked – he just spoke to Frankie a couple of months earlier until Richard gently reminds him that it was actually two years ago. In any case, Frankie won’t likely last the week and he wants to see his old friends again one final time.

Therefore, it is on Peter to get the band back together. He knows essentially where he can find them; Gaz (Shelton) has a young family with a daughter who is suspiciously dark-skinned (he and his wife are both white as a December snowbank) while Adam (Keogh) is a banker who is deep in debt to the Russian mob and has been rescued from suicide by Peter’s appearance. Adam is something of a human teakettle – always blowing up at any provocation real or imagined and who can’t complete a sentence without at least one F-bomb in it. He’s an aneurysm waiting to happen. Finally, there’s Smithy (Gilling), a portly man living with his mum who is reduced to speed dating but can’t escape his own awkward nature around women.

The crew decide to head up to Dewsbury, a town up north where Frankie has moved to. This being a comedy, you can bet that things won’t go anywhere near as planned – not even in the same country really, although British critics in their droll manor say that “mishaps ensue.” Those mishaps will include a dropped cell phone in a toilet overflowing with…well, you can fill in the blanks there. Also, a night at a swinger-oriented hotel which sends Peter screaming like a girl into the night. There are also Russian mobsters hunting down Adam with an eye for some spectacular violence, and a bus miscue that sends them careening off-course from the get-go. There is also a veritable cornucopia of bodily fluids and solids that are likely to send the four-year-old in you into helplessness. All that is missing is a sequence of fart jokes.

That kind of humor may not be your cup of tea unless you live with a bunch of toddlers, or essentially have no shame whatsoever. That isn’t the whole of the sort of humor you’ll find here but if you’re looking for wicked Oscar Wilde-type wit, you’re on the wrong bus. This is Benny Hill with an R rating and a penchant for toilet humor.

Initially I really found this unpalatable as the four friends are mainly stereotypes with little development and the humor is a little too low-brow for my taste but a funny thing happened on the way to a scathing review – the film got better. During the last half hour when the boys/men actually arrive in Dewsbury the movie abruptly shifts gears and we begin to see the people inside the stereotypes, particularly in the case of Adam who is devastated by his friend’s terminal condition. All the men seem to grow in some sort of way with the odd exception of Peter – the erstwhile protagonist and narrator – who seems the same essential sad sack he was when the opening credits unspooled. Still, the director and writers manage to explore the nature of male bonding as we age which is a worthy subject indeed.

There are a couple of fight scenes involving the mobsters that take place in dimly lit environments which makes it hard to figure out what’s going on, but other than that the movie is well-shot and makes good use of the locations in suburban England. The film ends on a sentimental albeit bizarre note but nevertheless it’s a good reminder that a good journey is all about reaching your destination – but it is made all the better in the company of friends.

REASONS TO SEE: Improves dramatically during the last third.
REASONS TO AVOID: Too much toilet humor and the fight scenes are badly lit.
FAMILY VALUES: There is plenty of profanity, violence and some sexual content.
TRIVIAL PURSUIT: Spring was only 21 when he directed this, his first feature film.
BEYOND THE THEATER: Amazon,  Fandango Now, Google Play, iTunes, Redbox, Vudu, YouTube
CRITICAL MASS: As of 7/15/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Big Chill
FINAL RATING: 5.5/10
NEXT:
Wild Rose