Dee Dee Rutherford has never been able to figure out what her father, Bill, wants from her. Like oil and water they've lived essentially separate lives for the past 15 years-Bill running his Fortune 500 company from the city and Dee Dee on the dole, chasing an endless series of outlandish adventures from his summer home. Now, on the eve of his retirement, Bill finds he's got one piece of unfinished business: to finally make an upstanding woman of his brash, neglected, and undisciplined daughter. But in laying down the law, he learns Dee Dee's capable of a lot more than he ever knew and soon finds his tactics are punishing him more than her. As Dee Dee struggles to placate her father she's confronted by the reality that she 'doesn't know how to be anybody else' but her complicated, unrefined, unsinkable, adventure-seeking self. In the end, each drives the other to the same surprising discovery of what it is Bill really wants. Written by
When the driver of a recurring taxi cab got bored and left on the cab's first day of shooting, prop master Geoff Binns-Calvey and Prop Asst. Merje Veski fashioned a new cab out of Key Grip Ronald Dragosh's maroon Caprice Classic in a single hour to save the shoot. Their creation became Ali's cab for the whole movie. See more »
At the William Rutherford tribute ceremony, when William has had enough of Dee Dee talking to Reggie Bailey and disrespecting William, William leaves his table and gives chase. In the very next shot William leaves his table and gives chase all over again. See more »
Why can't all comedies be this good? I loved this film. Lisa Ann Walter gives an amazing performance -- her "Dee Dee" is completely charismatic: brash, blissfully un-self-conscious, irrepressible, warm-hearted, stubborn, sassy and hilarious. Kurtwood Smith as her father is the perfect foil for her: the two of them are like oil and water. It is obvious from the beginning that neither character truly "gets" the other--and isn't that true of most parent/child relationships? Through all of the film's kooky twists and turns, Mike Meiners' deft hand at the camera and his right-on-the-money script carry us along with Dee Dee and her father as they develop a real understanding of themselves and of each other. By the end of the film, after laughs galore and several very poignant scenes too, father and daughter have forged a connection they never had before. The film yields up so many comedic gems: the director's own turn as the persistent cop who is increasingly frustrated by Dee Dee is one of my favorites of these -- as is J.P. Manoux's hilarious turn as Dee Dee's ever-faithful "help," Yugo, and Mason Gamble as Dee Dee's gay son Christopher, who does "get" his mother and in a great bit of role-reversal often finds himself having to act as the parent figure in their relationship. The soundtrack is wonderful -- quirky and evocative without being intrusive. Mike Meiners displays a profound understanding of the misunderstandings that can plague parents and their children and tells his story with humor and with heart. For a first full-length feature film, this work is impressive indeed. I look forward to Meiners' next project!
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