Don McKay, a high school janitor who leaves his hometown after a tragedy, returns 25 years later to rekindle a romance with his old flame, who is dying, but this homecoming brings McKay more than he bargained for.
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Thomas Haden Church,
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In this irreverent comedy, a failed actor-turned-worse-high-school-drama-teacher rallies his Tucson, AZ students as he conceives and stages politically incorrect musical sequel to Shakespeare's Hamlet.
Don McKay is living a very lowly life as a janitor. Then he receives a letter from his high school girlfriend, Sonny, who announces that she is dying and that she needs him to come back home. But when Don arrives back in his hometown, he finds Sonny's doctor has a crush on her and has no intention of letting Don back into her life, and the rest of the town remembers the tragedy that drove Don away in the first place and they have no intention of letting Don come back, at least not without paying some dues.Written by
In the early portion of the movie, Don McKay is shown working as a janitor at a school called "Premat Prep", likely a playful reference to the film's Director of Photography, Phil Parmet. See more »
When Don and Sonny drive home after the romantic dinner at the restaurant, the left head light of the pick-up truck is broken, but when they arrive home and park the vehicle both lights are working. See more »
Thomas Haden Church stars as the soft-spoken and slow-moving (but not necessarily slow-witted) titular character in this surprisingly entertaining black comedy.
Why do I say surprising? Oh, because it faded quickly into oblivion and has such a low score here at IMDb. And I admit that I at first had trouble getting into the film's weird (and I don't think always intentionally so) rhythm. Like a lot of black comedies, it takes time to establish its tone and cue you in on what you should and shouldn't be finding funny. Unfortunately, Church isn't up to the task of being our confident guide. His attempts to play Don McKay, a janitor who's summoned back to his hometown by a dying ex-girlfriend, as a shuffling and seemingly dim bulb come across instead as stiff and baffled. But the film is saved by playful performances by Elisabeth Shue, as this sordid crime film's femme fatale, and especially Melissa Leo, as a suspicious nurse who channels Judith Anderson from Alfred Hitchcock's "Rebecca." It's up to these two, who are clearly having a ball with their roles, to get the film and us firmly into the black comedy spirit, and once they do so, the film plays as a quirky and entertaining bit of fun.
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