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Title: Happythankyoumoreplease (2010)
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| Cast overview, first billed only: | |||
| Malin Akerman | ... | Annie | |
| Michael Algieri | ... | Rasheen | |
 |
Bram Barouh | ... | Spencer |
| Dana Barron | ... | The Gynecologist | |
| Sunah Bilsted | ... | Receptionist | |
| Jimmy Gary Jr. | ... | Police Officer | |
| Tony Hale | ... | Sam #2 | |
| Richard Jenkins | ... | Paul Gertmanian | |
| Zoe Kazan | ... | Mary Catherine | |
|
|
Marna Kohn | ... | Melissa |
| Kate Mara | ... | Mississippi | |
| Laith Nakli | ... | MTA Worker | |
| Katharine Powell | ... | Girl Leaving Apartment | |
| Josh Radnor | ... | Sam Wexler | |
| Maria Elena Ramirez | ... | Jill | |
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
I watched this without a clue what it was about. But soon after it started, I found myself wondering with bated breath what would happen next, and next, and next, and next. The dialogue was as fresh and colorful as the cast. The direction was steered by a steady hand that knew when to back off and when to tone things down, when to intensify, and how close and to and at what angle the camera should be to the actors. The direction never condescends to its audience as the direction of most romantic comedies do. Nor does this movie smother us with too much wit or too much symbolism. The movie was practically perfect in that it balanced what I think we ask of our comedic dramas: a fresh look at love and humor, believability, and poignancy. It felt so richly human that when it was over I felt that I had watched a new hot play instead of a movie, that's how vivid it was, that's how roughly hewn and real it was.
For those who desperately need some kind of plot-frame before seeing it, I'll give you a jumping off point. It starts with a New York late 20s/early 30s struggling novelist who decides to help a lost boy find his way back home.