Film 280 and More (Less than 100 to go!!!)
Film 280
"The Lie"
starring: Jess Weixler, Joshua Leonard, Kelli Garner
directed by: Joshua Leonard
"The Lie" is a film about accountability and absolution, as well as the idea that it's okay to lie if there's good intention behind it, regardless of the fact that it's for self-serving good intention.
The lie in question is interesting: Lonnie (played by Joshua Leonard, who also directed himself) is having a bit of a mid-mid-life crisis (since he and his wife still seem to be in the late-twenties) as well as fighting against his conscious. He calls in sick from his menial tech job in Southern California, where those jobs and qualified candidates are probably a dime a dozen. Only, he's not sick. He tells his boss that his "newborn" baby girl is sick. And then, the next day, he still doesn't want to go into work, so he extends the lie. Except now he tells his boss, after taking some shit for not showing up again, that his daughter died last night! What?! Which begs the question of how far someone will go to get out of something they don't want (to do). Would you use your own flesh and blood in the plot? And when his young, beautiful wife, Clover (played by the approachably attractive Jess Weixler, whom I've loved since seeing her in "Teeth"), spends a considerable amount of scene-time silently pondering her husband and what he's actually done by lying about their daughter's death. Should she forgive him? Does she still love him? The silence is heavy. And we expect something other than what we get.
Lonnie should absolutely be held accountable for his actions and lies. But, he is repeatedly absolved of his "sins" without any good reasons. With each forgiveness and everyone around him buying into the lie (not knowing any better, because they're not the audience, obviously), the story changes into an exploration into how deep narcissism can run and what it really means to take responsibility for your own life. Lonnie gets to bake his cake, have it, and eat it, too. It's almost ridiculously frustrating (especially for an independent film, which I usually count on to tell/show us how life truly is-- re: consequences) to see Lonnie be ultimately forgive for his sins.
Lonnie is essentially a man-child with a desire to smoke weed and make terrible music with his stoner buddy. He doesn't want to grow up, it seems. And the entire film's plot is sparked when Clover reveals at a dinner party with friends that she's thinking of accepting a job essentially working "for the man" because she's realized that she needs to grow up and provide for her family. Interesting look at the rational thoughts of the woman in the relationship, and also unfortunate that she's forced to take a backseat to this pathetic excuse for a husband (and I want to say father, but he clearly loves his newborn daughter).
It's a disappointment of a story, the way it plays out, because I want to see him suffer for his sins. But I guess, it's also a pleasant look at how a couple so in love with each other can see each other through everything and stay together (because nowadays it seems like so many couples use any minor speed bump as a way out).
Since I'm a fan of Jess Weixler's acting abilities, I really wanted to see more of her, and I think she was severely underused, since the director saw his character's self-indulgent journey as the most important piece of the story. But, how about the people (or person, Clover) whom his decisions and lies affected? That would have helped the story, in my opinion. And maybe it would have made it easier to forgive him, because we are ultimately supposed to just accept his actions, because he was doing it all for a good reason. Really?
..............................................................
Film 281
"An American Affair"
starring: Gretchen Mol, James Rebhorn, Cameron Bright, Perrey Reeves, Noah Wyle
written by: Alex Metcalf
This song seems patriotic. I mean, it's got an American Flag.
JFK conspiracies have always been great fodder for film plots. In "An American Affair" the filmmakers almost abuse the storyline and beat it like a dead horse for an hour and a half. It's tired plot includes CIA trenchcoat-wearing guys, including James Rebhorn's character. It focuses around the failure of the political scenario of the Bay of Pigs and the attempt of assassinating Fidel Castro.
At the heart of the story is a 13 year old boy named Adam Stafford (played by Cameron Bright, who has grown up since his first film role in "Godsend" opposite De Niro and Rebecca Romijn). It's the summer of 1963 and he is just another curious teenage boy who decides one night to peep across his yard into his neighbor's window. Why? Well, when your neighbor is a Marilyn Monroe-look-alike (played by Gretchen Mol, who actually looks a bit tired throughout the entire film), wouldn't you "rear window" her as well. Especially if she enjoys being an exhibitionist of sorts, sitting by the window topless. Only thing is, Adam Stafford also catches her being chauffeured to "appointments" with the one and only President Kennedy.
In order to push the story along, Adam wants to get closer to his neighbor so he offers his services as an anything-you-need/want-done-boy. Catherine (Mol) hires him to do some landscaping in her backyard, which includes ripping up everything that's already there. The pair get slightly closer, but you can tell there isn't going to be any older-woman-takes-advantage-of-teenage-boy scenarios here. Catherin's got it bad for JFK. And it all comes out when he gets assassinated. Adam tries to console her and take advantage of her vulnerability, but she only thinks he's a creep for it- even though, she obviously can't tell that in a 13 year old boy's mind, she's been leading him on this entire time.
I think I'd already watched this film once on Netflix a few years ago, but regardless, I watched it again and I was not impressed at all.
I think my favorite JFK-related film is still "Thirteen Days" with Kevin Costner.
....................................................................
Film 282
"Amber Lake"
starring: Carmen Argenziano, Polly Cole, Mekenna Melvin, Natalie Symka
written and directed by: John Michael Cole
"Amber Lake" is a cheap psychological thriller with an interesting plot that involves a rather weighty subject matter (abandonment and redemption, of sorts) that isn't really handled the right way- especially when it comes to the dialogue. It was either the acting that left me skeptical or just the lines these people were speaking. I'm going with the script.
Three half-sisters, all named Amber (really?) are invited to a lake house by their estranged father, who left them and their different mothers at different points in his life, obviously. Two days later, their father is found dead in the same lake, which leaves the detectives suspicious of all three girls (maybe with the hopes that one of them will turn on the others). Of course, the 3 girls are the suspects. They are interviewed separately and they each give 3 varying stories of what happened. That's when the film really falls apart for me, because I felt like the story could've evolved in a different way. And also, in each varied story, the acting seems to get worse and worse. I didn't really believe or even feel anything for these three girls, who were ultimately duped into joining their father at the lake house. And, even though he ends up dead, I certainly didn't feel bad for the father. He was just as manipulative as his 3 daughters (hmm, the apple doesn't fall far from the tree, I suppose). Even though this story should carry with it some heavy emotion, you never really feel anything, and you even wonder if these 3 ladies ever can (feel something, other than for themselves).
The father is a psychologist, himself, and he has obviously spent time studying the disorders he claims all 3 ladies suffer from (but does he actually want to help them, or is his purpose more self-serving than anything else). What disorder do these girls have, you ask?
Histrionic Personality Disorder: a pattern of excessive emotion and attention-seeking behavior, including an inappropriately seductive behavior (that's one of the girls) and an excessive need for approval (that's another one). People with this disorder can be lively, dramatic, vivacious, enthusiastic, and flirtatious. Well, that's all three girls in one nutshell. Obviously, this could be the premise of a great film, but unfortunately first-time writer/director Cole (who even hired his wife to play one of the three girls) falls miles short of the distance he was trying to run here. I'd say, he needs to learn how to walk before he runs.
This plot is of course the writer/director's version of the Rashomon effect: contradictory interpretations of the same event by different persons, which is a problem that arises in the process of uncovering the truth about something. (As a teacher, I'm familiar with this effect quite often!) Aside from being rather relevant in detective and police investigations, it's also quite relevant when comes to the ethics of journalism (and not trusting one simple source). Karl G. Heider wrote an article for the world of science in which he referred to the effect of subjectivity of perception on recollection, during which observers of an event are able to produce substantially different but equally plausible accounts of an event.
Now you'd think this would make for decent films, and in fact, when done right, it has worked. Akira Kurosawa was one of the original directors with his film aptly titled "Rashomon."
Others include:
Go
Ghost Dog
Hoodwinked! (animated fun)
Vantage Point
Tucker and Dale V. Evil
.............................................................
Film 283
"The Brass Teapot"
starring: Juno Temple, Ben Rappaport, Alexis Bledel
written and directed by: Ramaa Mosley
Here's another "What If?" movie.
If I had a million dollars....
The film focuses around the marriage and lives of John and Alice (Michael Angarano and Juno Temple, respectively). John is a telemarker who is usually late to his job, and he really doesn't like his job anyway. It doesn't matter, because he'll soon be fired from it, which will really put this down-on-their-luck couple. Alice is continuously looking a job, has a prospective opportunity, which she doesn't get because of all the qualified candidates in the pool (she's one of many "over-qualified"). This seems like a relevant topic for these days, given the current state of our economy and world. It's a recession story that turns into a dark-comedy. Sure, they are struggling financially and all of a sudden Alice happens upon a magical brass teapot that she is somehow drawn to when she and her husband get into an accident in front of an antique store. How does she know it has mystical powers?
Well, Alice takes it home, after revealing it to her husband, and she burns herself with her curling iron and all of a sudden money appears in the pot. And thus begins the gag-friendly and gag-driven antics of a film that is more silly than anything else. A film that could have a bit more heart behind it relies far too much on the gags and inventive ways that John and Alice can find to hurt themselves in order to become richer and richer.
The film really relies solely on the antics and the filmmakers don't see a need to develop the story past these things. Sure, Temple and Angarano make a plausible couple and it's fun to listen to them talk to each other in mostly cheeky one-liners that get their points across (especially, when physical pain doesn't reap them the same lucrative finances, they resort to emotional pain and tell each other secrets about their past to dig into each other).
Deep down its a tale of morality and a cautionary story that is too clunky and cheeky, with the couple learning their lesson at the very end and giving up the teapot.
This is probably the best description of the debauchery that ensues which really takes away from the film and turns it into something that might be more suitable for network TV (re: I'm thinking MTV).
"After Alice accidentally burns her hair on a curling iron in preparation for a job interview, the teapot fills up with cash; ecstatic by this solution to money problems, Alice and John idealize their fecund future as they begin to inflict harm on themselves to make their millions. Thus begins the deluge of goofball pain-centric montages strewn throughout the film: undergoing dental surgery sans Novocaine, getting a Brazilian wax, dabbling in S&M, etc. They agree to stop after they make their first million, but despite warnings from a Chinese man and two Orthodox Jews, they succumb to temptation—and eventually resort to emotional warfare—as they risk bodily harm and "unsavory consequences" in order to live a wealthy lifestyle."
.................................................................
Film 284
"It's a Disaster"
starring: Julia Stiles, Rachel Boston, Erinn Hayes, America Ferrera, David Cross, Kevin M. Brennan, Jeff Grace, Blaise Miller
written and directed by: Tom Berger
If you saw "This is the End" this past summer with James Franco, playing himself, and the cast of comedic actors that would be proud to consider themselves part of his entourage, then you had a blast and pretty much laughed for the entirety of the film (2 hours) as these dudes faced down the apocalypse and discovered things about themselves (because let's face it, that's what the apocalypse is for, having epiphanies).
"It's a Disaster" is a preceding apocalyptic dramedy with a cast of 8 people (4 different couples) coming together for their traditional Sunday Brunch. They are forced to stay in their friends' house even before Brunch can begin because they find out from a Hazmat-wearing neighbor that chemical weapons have been set off in their city (which city? and why is their city so important? should we assume it's L.A.?). This sets the stage for each person to have their own, individualized breakdown, knowing that these are there last hours on Earth. Of course, they mainly focus on themselves, and the emotions range from jealous range to nerdy, pop-culture based paranoia. Emma and Pete (Erinn Hayes, whom I recognized from the adult swim hilarity that is "Children's Hospital" and Blaise Miller, respectively) are the hosts of this week's brunch, and unfortunately their relationship is on the verge of dissolution (well, actually, they are planning on getting divorced and they break it to their friends mildly). They fight. A lot. And as the day continues they realize they both had affairs with people of the opposite sex, who happen to be swingers and their best friends. Buck and Lexi (Kevin Brennan and Rachel Boston) play the polygamous, free-spirited couple. They come off as a little too dim-witted and free-spirited and sort of become distractions, when it would have been a little more interesting if we could have looked into their relationship a little more as the world came to an end. Hedy and Shane (America Ferrera and Jeff Grace, respectively) play the other couple whose relationship is on the verge of ending, after an intensely long 6 year engagement during which Hedy cannot see the light at the end of the tunnel. She becomes paralyzed and almost catatonic when she realizes these may be her last hours on Earth. What has she done with her life the past few years? She begins to question her decisions. But, again, with this couple, we don't really get much information or follow-through to care too much about them. They take a backseat.
The important couple, and the big names in the film, is Tracy and Glenn (played strongly by Julia Stiles and David Cross). They are on their third date, which is apparently an accomplishment for Tracy, but also means that Tracy will inevitably find something wrong by the end of the date. A brunch with friends is an interesting choice for a third date, but maybe Tracy wants to utilize her friends in order to find Glenn's flaws.
With the apocalypse as the backdrop for this sitcom-related humor, the narrative develops and moves along swiftly. It's an exploration of the psychological fallout that comes when people discover they only have a few hours to live. There are lots of questions we could ask ourselves when faced with the inevitable, as well as many things we'd probably prefer to do. And these friends seem content to be spending their time together, even though a lot of secrets come out in the wash. The film does a good job detailing each character's thought patterns and bizarre behavior (Hedy accepts oncoming death but she'd rather end her life with a mixture of food, booze, and homemade drugs). It's ultimately a film about the acceptance of man's mortality. Glenn (David Cross) is the calmest and most helpful of the entire group, as everyone else uses their last hours to breakdown mentality and emotionally (aside from Emma and Pete, who ultimately realize that they do truly love each other, and would rather spend their last hours together, in love than fighting and being bitter and petty towards each other). Glenn, though, has his own hidden agenda (and I'm not sure I really appreciated it fully) because he's a creepy dude with Christian beliefs regarding the apocalypse and Judgment Day. He wants to "help" everyone in the house get into Heave, by poisoning them.
I really enjoyed this film, but it really felt more like an extended episode of a favorite sitcom (perhaps during "Sweeps Week" than an actual film. It had its shortcomings, mostly found in the script and not in the actors' performances. The existential crises that individuals face given the impending doom of the apocalypse is a subject that can definitely be treated with a dark sense of humor (to make light of the entire situation), but you have to make sure you don't discount the whole story by forgetting some of the characters through the mess. Perhaps having 2 less couples would have made it a better film, but I think it was well done, for the amount of money an indie film is funded with. Kudos to Julia Stiles and David Cross for really picking up the script's slack when need-be.
"The Lie"
starring: Jess Weixler, Joshua Leonard, Kelli Garner
directed by: Joshua Leonard
"The Lie" is a film about accountability and absolution, as well as the idea that it's okay to lie if there's good intention behind it, regardless of the fact that it's for self-serving good intention.
The lie in question is interesting: Lonnie (played by Joshua Leonard, who also directed himself) is having a bit of a mid-mid-life crisis (since he and his wife still seem to be in the late-twenties) as well as fighting against his conscious. He calls in sick from his menial tech job in Southern California, where those jobs and qualified candidates are probably a dime a dozen. Only, he's not sick. He tells his boss that his "newborn" baby girl is sick. And then, the next day, he still doesn't want to go into work, so he extends the lie. Except now he tells his boss, after taking some shit for not showing up again, that his daughter died last night! What?! Which begs the question of how far someone will go to get out of something they don't want (to do). Would you use your own flesh and blood in the plot? And when his young, beautiful wife, Clover (played by the approachably attractive Jess Weixler, whom I've loved since seeing her in "Teeth"), spends a considerable amount of scene-time silently pondering her husband and what he's actually done by lying about their daughter's death. Should she forgive him? Does she still love him? The silence is heavy. And we expect something other than what we get.
Lonnie should absolutely be held accountable for his actions and lies. But, he is repeatedly absolved of his "sins" without any good reasons. With each forgiveness and everyone around him buying into the lie (not knowing any better, because they're not the audience, obviously), the story changes into an exploration into how deep narcissism can run and what it really means to take responsibility for your own life. Lonnie gets to bake his cake, have it, and eat it, too. It's almost ridiculously frustrating (especially for an independent film, which I usually count on to tell/show us how life truly is-- re: consequences) to see Lonnie be ultimately forgive for his sins.
Lonnie is essentially a man-child with a desire to smoke weed and make terrible music with his stoner buddy. He doesn't want to grow up, it seems. And the entire film's plot is sparked when Clover reveals at a dinner party with friends that she's thinking of accepting a job essentially working "for the man" because she's realized that she needs to grow up and provide for her family. Interesting look at the rational thoughts of the woman in the relationship, and also unfortunate that she's forced to take a backseat to this pathetic excuse for a husband (and I want to say father, but he clearly loves his newborn daughter).
It's a disappointment of a story, the way it plays out, because I want to see him suffer for his sins. But I guess, it's also a pleasant look at how a couple so in love with each other can see each other through everything and stay together (because nowadays it seems like so many couples use any minor speed bump as a way out).
Since I'm a fan of Jess Weixler's acting abilities, I really wanted to see more of her, and I think she was severely underused, since the director saw his character's self-indulgent journey as the most important piece of the story. But, how about the people (or person, Clover) whom his decisions and lies affected? That would have helped the story, in my opinion. And maybe it would have made it easier to forgive him, because we are ultimately supposed to just accept his actions, because he was doing it all for a good reason. Really?
..............................................................
Film 281
"An American Affair"
starring: Gretchen Mol, James Rebhorn, Cameron Bright, Perrey Reeves, Noah Wyle
written by: Alex Metcalf
JFK conspiracies have always been great fodder for film plots. In "An American Affair" the filmmakers almost abuse the storyline and beat it like a dead horse for an hour and a half. It's tired plot includes CIA trenchcoat-wearing guys, including James Rebhorn's character. It focuses around the failure of the political scenario of the Bay of Pigs and the attempt of assassinating Fidel Castro.
At the heart of the story is a 13 year old boy named Adam Stafford (played by Cameron Bright, who has grown up since his first film role in "Godsend" opposite De Niro and Rebecca Romijn). It's the summer of 1963 and he is just another curious teenage boy who decides one night to peep across his yard into his neighbor's window. Why? Well, when your neighbor is a Marilyn Monroe-look-alike (played by Gretchen Mol, who actually looks a bit tired throughout the entire film), wouldn't you "rear window" her as well. Especially if she enjoys being an exhibitionist of sorts, sitting by the window topless. Only thing is, Adam Stafford also catches her being chauffeured to "appointments" with the one and only President Kennedy.
In order to push the story along, Adam wants to get closer to his neighbor so he offers his services as an anything-you-need/want-done-boy. Catherine (Mol) hires him to do some landscaping in her backyard, which includes ripping up everything that's already there. The pair get slightly closer, but you can tell there isn't going to be any older-woman-takes-advantage-of-teenage-boy scenarios here. Catherin's got it bad for JFK. And it all comes out when he gets assassinated. Adam tries to console her and take advantage of her vulnerability, but she only thinks he's a creep for it- even though, she obviously can't tell that in a 13 year old boy's mind, she's been leading him on this entire time.
I think I'd already watched this film once on Netflix a few years ago, but regardless, I watched it again and I was not impressed at all.
I think my favorite JFK-related film is still "Thirteen Days" with Kevin Costner.
....................................................................
Film 282
"Amber Lake"
starring: Carmen Argenziano, Polly Cole, Mekenna Melvin, Natalie Symka
written and directed by: John Michael Cole
"Amber Lake" is a cheap psychological thriller with an interesting plot that involves a rather weighty subject matter (abandonment and redemption, of sorts) that isn't really handled the right way- especially when it comes to the dialogue. It was either the acting that left me skeptical or just the lines these people were speaking. I'm going with the script.
Three half-sisters, all named Amber (really?) are invited to a lake house by their estranged father, who left them and their different mothers at different points in his life, obviously. Two days later, their father is found dead in the same lake, which leaves the detectives suspicious of all three girls (maybe with the hopes that one of them will turn on the others). Of course, the 3 girls are the suspects. They are interviewed separately and they each give 3 varying stories of what happened. That's when the film really falls apart for me, because I felt like the story could've evolved in a different way. And also, in each varied story, the acting seems to get worse and worse. I didn't really believe or even feel anything for these three girls, who were ultimately duped into joining their father at the lake house. And, even though he ends up dead, I certainly didn't feel bad for the father. He was just as manipulative as his 3 daughters (hmm, the apple doesn't fall far from the tree, I suppose). Even though this story should carry with it some heavy emotion, you never really feel anything, and you even wonder if these 3 ladies ever can (feel something, other than for themselves).
The father is a psychologist, himself, and he has obviously spent time studying the disorders he claims all 3 ladies suffer from (but does he actually want to help them, or is his purpose more self-serving than anything else). What disorder do these girls have, you ask?
Histrionic Personality Disorder: a pattern of excessive emotion and attention-seeking behavior, including an inappropriately seductive behavior (that's one of the girls) and an excessive need for approval (that's another one). People with this disorder can be lively, dramatic, vivacious, enthusiastic, and flirtatious. Well, that's all three girls in one nutshell. Obviously, this could be the premise of a great film, but unfortunately first-time writer/director Cole (who even hired his wife to play one of the three girls) falls miles short of the distance he was trying to run here. I'd say, he needs to learn how to walk before he runs.
Additional characteristics may include:
- Exhibitionist behavior
- Constant seeking of reassurance or approval
- Excessive sensitivity to criticism or disapproval
- Pride of own personality and unwillingness to change, viewing any change as a threat
- Inappropriately seductive appearance or behavior of a sexual nature
- Using somatic symptoms (of physical illness) to garner attention
- A need to be the center of attention
- Low tolerance for frustration or delayed gratification
- Rapidly shifting emotional states that may appear superficial or exaggerated to others
- Tendency to believe that relationships are more intimate than they actually are
- Making rash decisions[4]
- Blaming personal failures or disappointments on others
- Being easily influenced by others, especially those who treat them approvingly
- Being overly dramatic and emotional[6]
Some histrionics change their seduction technique into a more maternal/paternal style as they age.[7]
Mnemonic[edit]
A mnemonic that can be used to remember the characteristics of histrionic personality disorder is "PRAISE ME":[8][9]
- Provocative (or seductive) behavior
- Relationships are considered more intimate than they actually are
- Attention-seeking
- Influenced easily
- Speech (style) wants to impress; lacks detail
- Emotional lability; shallowness
- Make-up; physical appearance is used to draw attention to self
- Exaggerated emotions; theatrical
This plot is of course the writer/director's version of the Rashomon effect: contradictory interpretations of the same event by different persons, which is a problem that arises in the process of uncovering the truth about something. (As a teacher, I'm familiar with this effect quite often!) Aside from being rather relevant in detective and police investigations, it's also quite relevant when comes to the ethics of journalism (and not trusting one simple source). Karl G. Heider wrote an article for the world of science in which he referred to the effect of subjectivity of perception on recollection, during which observers of an event are able to produce substantially different but equally plausible accounts of an event.
Now you'd think this would make for decent films, and in fact, when done right, it has worked. Akira Kurosawa was one of the original directors with his film aptly titled "Rashomon."
Others include:
Go
Ghost Dog
Hoodwinked! (animated fun)
Vantage Point
Tucker and Dale V. Evil
.............................................................
Film 283
"The Brass Teapot"
starring: Juno Temple, Ben Rappaport, Alexis Bledel
written and directed by: Ramaa Mosley
Here's another "What If?" movie.
If I had a million dollars....
The film focuses around the marriage and lives of John and Alice (Michael Angarano and Juno Temple, respectively). John is a telemarker who is usually late to his job, and he really doesn't like his job anyway. It doesn't matter, because he'll soon be fired from it, which will really put this down-on-their-luck couple. Alice is continuously looking a job, has a prospective opportunity, which she doesn't get because of all the qualified candidates in the pool (she's one of many "over-qualified"). This seems like a relevant topic for these days, given the current state of our economy and world. It's a recession story that turns into a dark-comedy. Sure, they are struggling financially and all of a sudden Alice happens upon a magical brass teapot that she is somehow drawn to when she and her husband get into an accident in front of an antique store. How does she know it has mystical powers?
Well, Alice takes it home, after revealing it to her husband, and she burns herself with her curling iron and all of a sudden money appears in the pot. And thus begins the gag-friendly and gag-driven antics of a film that is more silly than anything else. A film that could have a bit more heart behind it relies far too much on the gags and inventive ways that John and Alice can find to hurt themselves in order to become richer and richer.
The film really relies solely on the antics and the filmmakers don't see a need to develop the story past these things. Sure, Temple and Angarano make a plausible couple and it's fun to listen to them talk to each other in mostly cheeky one-liners that get their points across (especially, when physical pain doesn't reap them the same lucrative finances, they resort to emotional pain and tell each other secrets about their past to dig into each other).
Deep down its a tale of morality and a cautionary story that is too clunky and cheeky, with the couple learning their lesson at the very end and giving up the teapot.
This is probably the best description of the debauchery that ensues which really takes away from the film and turns it into something that might be more suitable for network TV (re: I'm thinking MTV).
"After Alice accidentally burns her hair on a curling iron in preparation for a job interview, the teapot fills up with cash; ecstatic by this solution to money problems, Alice and John idealize their fecund future as they begin to inflict harm on themselves to make their millions. Thus begins the deluge of goofball pain-centric montages strewn throughout the film: undergoing dental surgery sans Novocaine, getting a Brazilian wax, dabbling in S&M, etc. They agree to stop after they make their first million, but despite warnings from a Chinese man and two Orthodox Jews, they succumb to temptation—and eventually resort to emotional warfare—as they risk bodily harm and "unsavory consequences" in order to live a wealthy lifestyle."
.................................................................
Film 284
"It's a Disaster"
starring: Julia Stiles, Rachel Boston, Erinn Hayes, America Ferrera, David Cross, Kevin M. Brennan, Jeff Grace, Blaise Miller
written and directed by: Tom Berger
If you saw "This is the End" this past summer with James Franco, playing himself, and the cast of comedic actors that would be proud to consider themselves part of his entourage, then you had a blast and pretty much laughed for the entirety of the film (2 hours) as these dudes faced down the apocalypse and discovered things about themselves (because let's face it, that's what the apocalypse is for, having epiphanies).
"It's a Disaster" is a preceding apocalyptic dramedy with a cast of 8 people (4 different couples) coming together for their traditional Sunday Brunch. They are forced to stay in their friends' house even before Brunch can begin because they find out from a Hazmat-wearing neighbor that chemical weapons have been set off in their city (which city? and why is their city so important? should we assume it's L.A.?). This sets the stage for each person to have their own, individualized breakdown, knowing that these are there last hours on Earth. Of course, they mainly focus on themselves, and the emotions range from jealous range to nerdy, pop-culture based paranoia. Emma and Pete (Erinn Hayes, whom I recognized from the adult swim hilarity that is "Children's Hospital" and Blaise Miller, respectively) are the hosts of this week's brunch, and unfortunately their relationship is on the verge of dissolution (well, actually, they are planning on getting divorced and they break it to their friends mildly). They fight. A lot. And as the day continues they realize they both had affairs with people of the opposite sex, who happen to be swingers and their best friends. Buck and Lexi (Kevin Brennan and Rachel Boston) play the polygamous, free-spirited couple. They come off as a little too dim-witted and free-spirited and sort of become distractions, when it would have been a little more interesting if we could have looked into their relationship a little more as the world came to an end. Hedy and Shane (America Ferrera and Jeff Grace, respectively) play the other couple whose relationship is on the verge of ending, after an intensely long 6 year engagement during which Hedy cannot see the light at the end of the tunnel. She becomes paralyzed and almost catatonic when she realizes these may be her last hours on Earth. What has she done with her life the past few years? She begins to question her decisions. But, again, with this couple, we don't really get much information or follow-through to care too much about them. They take a backseat.
The important couple, and the big names in the film, is Tracy and Glenn (played strongly by Julia Stiles and David Cross). They are on their third date, which is apparently an accomplishment for Tracy, but also means that Tracy will inevitably find something wrong by the end of the date. A brunch with friends is an interesting choice for a third date, but maybe Tracy wants to utilize her friends in order to find Glenn's flaws.
With the apocalypse as the backdrop for this sitcom-related humor, the narrative develops and moves along swiftly. It's an exploration of the psychological fallout that comes when people discover they only have a few hours to live. There are lots of questions we could ask ourselves when faced with the inevitable, as well as many things we'd probably prefer to do. And these friends seem content to be spending their time together, even though a lot of secrets come out in the wash. The film does a good job detailing each character's thought patterns and bizarre behavior (Hedy accepts oncoming death but she'd rather end her life with a mixture of food, booze, and homemade drugs). It's ultimately a film about the acceptance of man's mortality. Glenn (David Cross) is the calmest and most helpful of the entire group, as everyone else uses their last hours to breakdown mentality and emotionally (aside from Emma and Pete, who ultimately realize that they do truly love each other, and would rather spend their last hours together, in love than fighting and being bitter and petty towards each other). Glenn, though, has his own hidden agenda (and I'm not sure I really appreciated it fully) because he's a creepy dude with Christian beliefs regarding the apocalypse and Judgment Day. He wants to "help" everyone in the house get into Heave, by poisoning them.
I really enjoyed this film, but it really felt more like an extended episode of a favorite sitcom (perhaps during "Sweeps Week" than an actual film. It had its shortcomings, mostly found in the script and not in the actors' performances. The existential crises that individuals face given the impending doom of the apocalypse is a subject that can definitely be treated with a dark sense of humor (to make light of the entire situation), but you have to make sure you don't discount the whole story by forgetting some of the characters through the mess. Perhaps having 2 less couples would have made it a better film, but I think it was well done, for the amount of money an indie film is funded with. Kudos to Julia Stiles and David Cross for really picking up the script's slack when need-be.
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