Captures a generational moment - young people on the cusp of truly growing up, tiring of their reflexive cynicism, each in their own ways struggling to connect and define what it means to love and be loved.
Six New Yorkers juggle love, friendship, and the keenly challenging specter of adulthood. Sam Wexler is a struggling writer who's having a particularly bad day. When a young boy gets separated from his family on the subway, Sam makes the questionable decision to bring the child back to his apartment and thus begins a rewarding, yet complicated, friendship. Sam's life revolves around his friends-Annie, whose self-image keeps her from commitment; Charlie and Mary Catherine, a couple whose possible move to Los Angeles tests their relationship; and Mississippi, a cabaret singer who catches Sam's eye. Written by
Sundance Film Festival
As someone who enjoys shameless chick flicks and Josh Radnor, but is also a Sundance enthusiast, I really wanted to like this film. The storyline was fine, the music by Jaymay was awesome, the actors are all decent.
That being said, it was totally apparent that Radnor is still an amateur at writing and directing. You know how, in high school, when your friend asked you to read their angsty poetry, and it took all of you not to roll your eyes? That's what watching this movie was kind of like.
There was so much contrived drama that it would have been better suited to a soap opera or comedy. Instead, the actors had to take a superficially dramatic script and try to wring some drama out of it. For instance, the movie starts off with a one-night-stand leaving Radnor's apartment just as he wakes up and realizes he is late for an interview. Conveniently, his best friend leaves a voicemail as he's getting ready, as if she would know he were there listening, perfectly timed to tell him to tuck his shirt in right as he finishes dressing. But it's not a comedy! It's just trying to be clever. He ends up speaking with her on the phone and says something like, "Why did I oversleep? Why am I so afraid of success?" This sounds exactly like what some screen writing student would think that a self-pitying artist would say. The rest of the movie moves conveniently along these lines: things a screen writing student THINKS his characters would say. Unfortunately, film enthusiasts will be unsurprised by every line fed to them from here on out.
Rasheen's character was great and would have made this a promising movie if only his presence in the plot was not based on some ridiculous presence.
I'm curious to see what Radnor will do next, but he'd probably be wise to work on short films and practice the art of delighting the audience in as little time as possible before attempting a longer format again.
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