7.5/10
53
1 user 4 critic

Daylight Savings (2012)

TV-14 | | Comedy | 10 March 2012 (USA)
After a harsh breakup, indie musician Goh Nakamura hits the road to pursue a promising rebound.

Director:

Dave Boyle
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1 win & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Goh Nakamura Goh Nakamura ... Himself
Yea-Ming Chen ... Yea-Ming
Michael Aki ... Mike
Lynn Chen ... Rachel
Ayako Fujitani ... Erika
Jane Lui Jane Lui ... Herself
William Long William Long ... The Beast
Joy Osmanski ... Amy
Aya Nakamura Aya Nakamura ... Herself
Theresa Navarro Theresa Navarro ... Cindy
Duane Andersen ... Moustache
Michael Tully ... Banana Man
Jimmy Chunga ... Radio DJ
Eric Bjarnson Eric Bjarnson ... Doctor
D. Alexander Gilbert D. Alexander Gilbert ... Festival Programmer
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Storyline

After a harsh breakup, indie musician Goh Nakamura hits the road to pursue a promising rebound.

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Genres:

Comedy

Certificate:

TV-14
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Details

Official Sites:

Official Facebook

Country:

USA

Language:

English

Release Date:

10 March 2012 (USA) See more »

Also Known As:

Daylight Savings See more »

Filming Locations:

Las Vegas, Nevada, USA See more »

Company Credits

Production Co:

Brainwave See more »
Show more on IMDbPro »

Technical Specs

Runtime:

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User Reviews

 
This film is an exploration of the relationship forces that pull one in multiple directions, feasting on current circumstances and human vulnerability.
15 October 2012 | by stefan-503-94673See all my reviews

If you like Sideways, you'll like Daylight Savings. Though some thematic elements are left to be desired, Boyle's exploration into the human psyche and its vulnerabilities is on full display, behind the veil of Nakamura's easy-going, unpretentious personality.

What appears to be circumstantial reveals deeper contemplation by Boyle about the state of human frailty, sometimes helpless against the pull of instinctive needs - sex, companionship, respect, and maybe just simply a good, deep conversation.

Nakamura is a natural comic talent, with effortless timing and wit that cannot only be heard, but seen and felt. The new sidekick is not as much of a show-stealer as the prior (in Surrogate Valentine), but could it be that Boyle is simply giving room for Nakamura's character to further develop?

Love interests and sexual tension continues, but we feel somewhat thwarted in our anticipation, perhaps telling us that a more mature and developed Boyle treatments will surface in subsequent features of this genre.

Some scenes are not as natural as they could be, but they are absolutely forgivable in light of the high-minded task at hand, a gentle teasing of comical brilliance and stylistic mastery foreshadowing more mature subject matter. I feel like a teenager peering over the neighbor's wall for a peek at the drama, only to be shooed away and left wanting when spotted.


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