One of the biggest flaws of first-time filmmakers is that they very often simply put their raw emotions on screen without any context. For example, if the filmmaker is depressed over say, feeling lonely or breaking up with his girlfriend, he will then make a film about a person who is depressed over being lonely or breaking up with his girlfriend. But that's nothing new. We've all been depressed or lonely at one time or another, and simply putting these emotions on screen does not make it art. What we need is a context for those emotions: is the character lonely because of something he is or does, and does he realize that by the film's end? Does the character's depression help him realize something about his life? That's the main flaw with KEGLESS: the writer/director manages to put a lot of raw emotion on the screen, dealing with realistic and pertinent problems. (What will become of me after school? Will I ever meet anyone else?) But that's all he does. Those emotions are not shaped into anything. Despite being in a fight with his best friend at the end, the character doesn't really learn anything from it, and everything is sort of tied up too neatly at the end. (He gets the job, and the new girl, and keeps the best friend.) However, the emotions are real.