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Title: Kicking and Screaming (1995)
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| Cast overview, first billed only: | |||
| Josh Hamilton | ... | Grover | |
 |
Samuel Gould | ... | Pete (as Sam Gould) |
| Catherine Kellner | ... | Gail | |
|
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Jonathan Baumbach | ... | Professor |
| John Lehr | ... | Louis | |
| Olivia d'Abo | ... | Jane | |
|
|
Peter Czernin | ... | Lester |
| Carlos Jacott | ... | Otis | |
| Chris Eigeman | ... | Max | |
| Eric Stoltz | ... | Chet | |
| Eliza Roberts | ... | Josselyn | |
| Jason Wiles | ... | Skippy | |
| Parker Posey | ... | Miami | |
|
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Christopher Reed | ... | Friedrich (as Chris Reed) |
| Noah Baumbach | ... | Danny | |
After college graduation, Grover's girlfriend Jane tells him she's moving to Prague to study writing. Grover declines to accompany her, deciding instead to move in with several friends, all of whom can't quite work up the inertia to escape their university's pull. Nobody wants to make any big decisions that would radically alter his life, yet none of them wants to end up like Chet, the professional student who tends bar and is in his tenth year of university studies. Written by James Meek <james@oz.net>
This is simply the best "Big Chill" movie since, well, "The Big Chill." The cast is terrific; the writing is even better. I've seen Josh Hamilton in several other films, but somehow he never has caught my eye except in this role (interestingly monnikered Grover, by the by). What makes this film work above the usual rabble of 20-something angst films is that you genuinely understand, can relate to, and feel for the characters. And the bits of business that have nothing to do with the "main" storyline, Grover's, are every bit as amusing and resonant. Highlights: Eric Stoltz and Carlos Jacott's "book club." Chris Eigeman ducking the "cookie guy." Carlos Jacott trying to remember the last "Friday the 13th" film. Any scene involving Parker Posey. I think I've watched this film about 10 times in completion. The ending, I've watched about 30 times. It's that good. I don't think I've ever seen a more tender, memorable, perfect scene than the parting one between Hamilton and Olivia D'Abo, where she takes out her retainer, smiles shyly at him and then there's a fabulous music cue that leads us into...the unknown. Of course, we know the ending, because Jane and Grover's fate has basically been the subject of the whole film, but the way Baumbach ties all of this together is truly inspired. Grover's speech at the airline ticket counter may be the best monologue in the history of cinema. Am I gushing irrationally here? Perhaps a little. But this film needs to be seen and recognized as the little gem (that's often better than anything else in the same genre done by a major studio/director) that it is.