(2019) Drama (Freestyle) Bradley Gosnell, Daniel Floren, Mia Marcon, David Shoffner, George Christopher, Delaney Milbourn, John A. McKenna, Wes Selby, Mark Laird, Zachary Fancey, Jimmy McCammon, Grace Fae. Directed by Raja Gosnell and Alicia Joy LeBlanc
Faith isn’t an easy thing to pin down. We don’t always know how strong it is; faith can come and go on a dime. We think we recognize it, but it is only when we are truly tested that we know whether or not our faith is real.
Pete (B. Gosnell) is facing just such a test. He’d met his wife Cindy (Marcon) in a seedy hotel bar. For him anyway, it was love at first sight. She was one of those women who just lights up a room; so full of life, so full of oy, every eye was on her. So he was surprised as hell when she sat down at his table and in the space of a night extracted his life story. Six months later, they were married. Should have been a happily ever after, right?
But life rarely offers us a happily ever after. The magic went out of the relationship and now Pete has discovered that his Cindy has been coming back to the same hotel every Friday night to meet Leo (Christopher) for an evening of passion. So, Pete has come to the hoteland gotten himself a room for Friday night. He packed light; a backpack, and in the backpack, a gun.
Gideon (Floren), or “Gid” as he likes to be called, has a pretty stationary life. He likes to do things by the book, which is understandable since he is a book – or perhaps more to the point, THE book – the Gideon Bible that is left free in hotel rooms for travellers to read. This particular Bible has been sitting in the same hotel room for six decades. He’s seen his share of tragedies and passions; one of his pages has been torn out by a stoner to use as a rolling paper “Judges. Ironic, huh?”) and on the back a child has drawn her own Picasso-esque masterpiece.
When Pete comes in, Gic strikes up a conversation, being an outgoing, people-loving sort. Gid quickly discovers what Pete’s intentions are and holds a conversation with Pete on the nature of faith, the inequities of translation and interpretation, and navigating right and wrong as he tries to guide Pete in a different direction than the one he’s planning on.
This movie had its beginning as a stage play, and sadly, hasn’t really risen past its beginnings. Most of the action takes place in the confines of a hotel room, and there is a stage-y feeling to the production and to be honest, to the dialogue as well. The rhythms here all scream “stage play” much more than they do “film”. Considering that the two co-stars co-wrote and starred in the sgtage version and co-director LeBlanc directed the original stage version, it isn’t so surprising. Raja Gosnell (Brad’s dad) is a veteran director of feature films; you’d think that he would have added a more cinematic quality to the production, but alas, no.
That’s not to say that this doesn’t have things going for it. The concept is imaginative and the opening sequence when Pete narrates how he and Cindy got together is pretty nifty and the movie tackles some pretty deep subjects. It is one of those rare movies that discusses faith from a rational standpoint, never feels like it’s preaching. I know a few theologians who are going to have some pretty stirring conversations based on this if they ever get to see it.
Gosnell the younger and Floren have a good chemistry and each does a pretty good job with their roles,Pete being scruffy and down on just about everything (as you might imagine) while Gid is a bit of a huckster, optimistic in an “Up With People” kind of vibe, and a little bit too into the Cubs. While the film is a brisk 60 minutes long, your tolerance for watching what is essentially an extended conversation will determine how much you’ll end up enjoying this movie. For me, it was thought-provoking enough to sustain my interest.
REASONS TO SEE: There’s a good deal of imagination here.
REASONS TO AVOID: Very stage-y; other than the opening scene, lacks a sense of being a film rather than a stage play.
FAMILY VALUES: There is some profanity and sexuality
TRIVIAL PURSUIT: The film is based on a stage play that debuted at the Hollywood Fringe Festival in 2018.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fandango Now, Google Plus, Microsoft, Vudu, YouTub]e
CRITICAL MASS: As of 1/13/2021: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: The Laramie Project
FINAL RATING: 6/10
NEXT: Museum Town