(2018) Dramedy (Blue Fox/Breaking Glass) Matt Bomer, Alejandro Patiño, Wendi McLendon-Covey, Elena Campbell-Martinez, Michael Shepperd, Ryan Guzman, Tommie Earl Jenkins, Shaun Buchholz, Tom Beyer, Irene White, Caitlin Kimball, Marisa Szczepan, Brandon Kyle Goodman, Blaine Swen, Martin Morales, Nick Bush, Blaine Mizer, Rosemary Dominguez. Directed by John Butler
Loneliness does things to people. It preys on them from the inside, chews up their souls and turns them into people they won’t even recognize when they look themselves in the mirror. To be blunt, loneliness sucks.
Sean (Bomer) is an L.A. weatherman who is still reeling, six months later, after the end of his romantic relationship with ex-husband Carlos. Unable to move on, he has a mini-nervous breakdown on the air, unaccountably sobbing while reading the weather. His boss (McLendon-Covey) wisely tells him to take some time off and get himself right. Sean would rather not; taking time off with nothing to do might force him to face his loneliness and he’s clearly not ready to do this.
The last vestige of Carlos is a tree in a planter on the deck of his hillside mansion with a spectacular view; when he has the plant removed, Sean notices a circle on the deck where the plant had been. Not being handy in the least, he determines that he needs to have his deck repainted. Sean decides to hire someone from a group of migrant workers who hang out at his local hardware store, looking for work. He selects Ernesto (Patiño) and soon the two form a bond, even though Ernesto’s English is shaky and Sean’s Spanish even more so.
Sean finds himself paying Ernesto to hang out with him, going on hikes in Runyon Canyon, being his plus one at a party of his friends and even gets Ernesto to row him on a local lake. Ernesto reports all of this to his incredulous wife Linda (Campbell-Martinez), scarcely able to believe it himself but 20 bucks an hour is 20 bucks an hour, so if the gringo wants to pay him to hang out, Ernesto doesn’t mind. Besides, Ernesto is inherently a kind man who recognizes the pain Sean is in.
You can kind of see where this is going, but oddly enough it manages to get there without completely being predictable. The emphasis here is on Bomer, which is a bit of a shame; I found Ernesto to be a far more captivating character and would have liked a little more of his point of view. Still, Bomer is a strong actor and while Sean occasionally does creepy things, he still remains at least to a certain degree to be relatable.
Butler is a good filmmaker with strong shot composition and manages to insert some truly poignant moments. He also resists the temptation to make Ernesto the wise old Mexican whose folk wisdom will solve all of Sean’s problems; in fact, Ernesto doesn’t really understand a good deal of what Sean is telling him. He just half-smiles, nods and lens an ear, which is what Sean really needs.
Some reviewers have criticized the film for being racist, but to be honest I didn’t see it and I’m Hispanic. As I said, I would have appreciated more of Ernesto’s point of view, but Sean never talks down to Ernesto nor does he treat him as an inferior. The only knock that I might see against Sean is that he really doesn’t show much interest in learning Ernesto’s culture or language and doesn’t seem all that curious about Ernesto’s problems. Something tells me it would have been a much better movie if he had.
REASONS TO SEE: A bit on the oddball side but definitely warm-hearted.
REASONS TO AVOID: Some of Sean’s actions are a bit creepy.
FAMILY VALUES: There’s a fair amount of profanity and a bit of sexual innuendo.
TRIVIAL PURSUIT: The film had its world premiere at the Toronto Film Festival in 2018.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Vudu, YouTube
CRITICAL MASS: As of 11/18/19: Rotten Tomatoes: 74% positive reviews: Metacritic: 42/100.
COMPARISON SHOPPING: Driving Miss Daisy
FINAL RATING: 6.5/10
NEXT: Mickey and the Bear