
Metaphor and opacity get a workout in The Wait, an inscrutable drama of commingled supernatural and psychological elements, starring Chloë Sevigny and Jena Malone as at-odds sisters coping with the death of their mother. Writer-director M. Blash marshals considerable atmospheric forces, but his film collapses under the weight of oblique logic and plotting, lacking in either effective emotional payoff or the more skilled observational touch of a rumination on loss. The Wait leaves viewers poised on a precipice, waiting for a revelation or catharsis that never comes. For the full, original review from Screen Daily, click here. (Monterey Media, R, 97 minutes)
Daily Archives: January 31, 2014
That Awkward Moment
That Awkward Moment, the latest bro-tastic laffer which attempts to thread the needle between twentysomething sexual exploration and acting out and relationship comedy (read: accepted “male” and “female” genres) is an awkward mash-up, but in the end will represent nothing more than a momentary, wholly understandable blip on the respective filmographies of its talented young cast. A stab at blended American Pie and Swingers-type antics, writer-director Tom Gormican’s film banks heavily on the ample chemistry of its players, to intermittent but largely unmemorable effect.
The movie unfolds in New York City, and centers around a trio of guys who are best friends. Jason (Zac Efron) and Daniel (Miles Teller), who work together at a publishing house designing book covers, are your classic player-types, who enjoy the bar scene and take extraordinary measures to develop a rotation of girls and avoid being pinned down in a relationship. When their doctor pal Mikey (Michael B. Jordan) discovers his wife Vera (Jessica Lucas) has been cheating on him and wants a divorce, Jason and Daniel vow to reintroduce him to single life, and enter into a pact to avoid getting into a relationship with any whiffs of exclusivity.
Things get complicated, however, when Daniel tumbles into the sack with his female wingman Chelsea (Mackenzie Davis), who’s apparently smitten by all his witty talk of receiving blowjobs from other girls. Jason, meanwhile, meets cute with Ellie (Imogen Poots) and, after their first night together ends in sex, transcends the awkwardness of mistakenly thinking she’s a prostitute. The more he gets to know her, the more Jason likes her. But when unexpected tragedy befalls Ellie, Jason blanches at comporting himself in the manner of a boyfriend, and jeopardizes a shot at maintaining a place in Ellie’s life. Can any of these guys grow up and find happiness in a monogamous relationship?
In his feature debut, Gormican basically serves jointly as ringmaster and a turbo-charged pace car, pushing his actors through rat-tat-tat dialogue, and hoping that the movie’s high-volume joke quotient wins over viewers. In a game cast — especially the talented Teller, who wins the day — the director has a lot going for him, but Gormican’s script, which was spotlighted as one of the top unproduced comedy screenplays in the 2010 Hollywood Black List, is a vessel of breezy banter, confidence and energy more than a cogent, well-rooted narrative.
Daniel and Chelsea’s burgeoning relationship doesn’t really pass the smell test, and Mikey seems most defined by shaking his head at Daniel and Jason and telling them that they’re idiots, which he does at least a half dozen times. Overall, the film seems inordinately preoccupied with proving its bawdy bona fides, by way of a good bit of cock-centric humor. Some of this works (Jason showing up at what he thinks is a costume party in a compromising guise, only to discover it’s a tony affair), but many other bits (I’m looking in your direction, confusion of self-tanner with hand lotion) feel like hijackers of tone, robbing the movie of any honest momentum or flow.
Certain sequences work quite nicely, and exhibit a keen observational touch; Jason and Ellie’s first date proper is a scene which nails the pushback and gentle mocking buried in as-yet-consummated flirtation. But Gormican seems afraid or unable to focus on honest emotion for too long, and when he contrives to deposit four of his characters in a bathroom at a Thanksgiving party — the scene most emblematic of That Awkward Moment‘s unfortunate unraveling — it becomes robustly apparent that his film is yet another example of a modestly smart movie felled by adherence to formula and dictums that don’t align with its raison d’être. (Focus, R, 94 minutes)
In a World… (Blu-ray)
For years, in movies like Over Her Dead Body and No Strings Attached, Lake Bell has played the best friend or colorful third lead, exhibiting a nice instinct for comic timing. With her superb directorial debut, Bell has finally blossomed, creating a wonderful showcase for her true voice.

And what a voice it is, too. Winner of the Waldo Salt Screenwriting Award at last year’s Sundance Film Festival, In a World… is a sharply sketched, wonderfully cast ensemble dramedy set against the backdrop of the cutthroat movie-trailer voiceover world. (The title is a tip of the hat to the late Don LaFontaine, and the baritone phrase he used to kick off many trailers.) Funny, fresh and populated with engaging and relatable characters that behave in recognizably human ways, it’s a true indie treat — easily one of the year’s best comedies.
Chocolate velour track suit-clad Sam Sotto (Fred Melamed) is nearing the end of a long and successful career as a voiceover artist. That doesn’t mean he’s any less egotistical, however. When he casts his underachieving, emotionally wayward adult daughter, Carol Solomon (Bell), out of his house to make room for his new, 30-year-old fiancée, Jamie (Alexandra Holden), Sam paints it as just another gesture of his largesse (“I’m helping her by not helping her”).
Carol is a part-time vocal coach looking to stamp out the spreading virus of affected “sexy baby” voices in women, but she also needs a place to live. While crashing for a bit with her sister Dani (Michaela Watkins) and brother-in-law Moe (Rob Corddry), Carol books her first voiceover gig with the assistance of an awkward but charming sound engineer, Louis Parker (Demetri Martin). Soon, she has the inside track on her father’s mentee and the industry’s rising star, Gustav Warner (Ken Marino), to do the voiceover for the adaptation of the hot Amazon Games franchise, the next big young-adult novel property. Sam, however, may not be ready to go quietly into the night.
In a World… does something few films do, let alone few directorial debuts — it takes a completely unique setting and story, and then executes on that winning plot without really ringing a false note. Plot-wise, the film is actually kind of overstuffed, with bisecting love triangles and churned-up family issues and comedic misunderstandings that would play in an old vaudevillian routine. But it all works, because each ingredient is fresh and the casserole is so well tended to.
Bell takes notions of arrested development and breathes them into various characters, but in a manner that makes sense specifically for them. She also doesn’t sandbag or sell short her characters. It’s unsurprising that Carol is well-written, since Bell is playing the lead. But even a supporting character like Jamie is given a great, honest character arc; she’s no mere empty-headed trophy wife, despite appearances. Bell proves equally as at home writing character-based comedy — there’s a sisterly discussion of “just the tip,” awkward posturing by Moe when a neighbor has to use his shower, and plenty moments of quirky workplace recording humor — as she is tossing out Great Gatsby and Cranberries references, or one-liners about Life Savers.
Most of all, Bell is abetted by a great cast. Melamed (A Serious Man) is fantastic, as is Martin. Bell and Watkins have a wonderful rapport, and there’s even a surprising tenderness and emotional connection to a romantic rekindling Dani and Moe share. In a World… may be a bit roughhewn for some tastes, but it’s so alive, identifiably clumsy and deliciously complicated — so of the real world — as to put a smile on viewers’ faces.
Based on its replay value alone, Bell’s film is a “library title,” worthy of purchase more than rental. But it also has a nice home video presentation, coming to Blu-ray via a solid 1080p high definition transfer presented in a 2.40:1 aspect ratio that preserves the framing of its original theatrical distribution. In addition to English and French language 5.1 DTS-HD master audio tracks, there’s also a Spanish language 5.1 Dolby digital audio track and optional subtitles in all languages. Its bonus features are anchored by a feature-length audio commentary track from Bell, in which she sprinkles in liberal good-natured production anecdotes with more serious-minded stories about its winding development path, and thoughts about its themes.
Additionally, there’s an alternate opening sequence to the film, a collection of a half dozen promotional trailers centered around characters within the film (and its Amazon Games film-within-the-film, which features Cameron Diaz), plus a four-minute gag reel that blends together gaffes along with some improvisation. Running almost 15 minutes, meanwhile, a collection of nine deleted scenes provides a glimpse of a longer vision of the movie, via the further fleshing out of the relationship between Corddry and Watkins’ characters. To purchase the Blu-ray via Half, click here; otherwise, by all means, patronize your favorite local brick-and-mortar establishment. A- (Movie) B+ (Disc)
Nikki Reed Gets Email
Per Screen Daily and other outlets, Nikki Reed has signed on to Email, a horror thriller that sounds a good bit like Pulse and The Grudge. Directed by Kelvin Tong, the movie centers on a young journalist who travels to Singpore to investigate the circumstances her sister’s mysterious death, and then stumbles upon a string of killers involving a cursed email. Production will commence in May.