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While often over-the top, Sherman's performance offers glimpses of the vulnerable boy underneath the bravado. So it's eerily easy to see the nice guy who has been warped by bad decisions, lack of opportunity and manipulative messaging. The supporting cast members cleverly add details that play into Ronnie's increasingly warped view of society. So even if each role is somewhat heightened, it's also effectively grounded in the real world.

Even when a relatively level-headed friend (Armstrong) tells Ronnie his problems will end when he sorts himself out and stops blaming others, he continues to feel like the victim of everyone else's privilege. And since he's never had many chances in life, his downward spiral is vicious, which adds a layer of dark suspense to the film's rather unsubtle themes. There are fascinating textures along the way, but the finale is relentlessly shocking, partly because it's so inevitable. It's also frighteningly recognisable, and surprisingly moving.

themes, language, violence, sexuality

21.Apr.20

James gives actors space to subtly underplay their roles. Streeter and Hamilton develop superb father-son rhythms; they're close but need to rebuild their relationship. This infuses awkwardness alongside the humour and camaraderie, while each tries to deal with his personal issues on his own. Other roles add some vivid textures here and there, offering varying levels of emotion and intensity that dig even deeper into the two central figures. The main worry, of course, is that Tony's past will undo his new life.

Before the overwrought finale, James' introspective approach is involving, adding ripples of interest everywhere. The quietly loping pace sometimes feels a bit underpowered, but it keeps moving steadily, adding insight into the characters and situations so that each scene is more resonant than the last. So where the narrative goes is powerfully moving, stirring glimmers of healing into a painful situation, as each character struggles to be the decent person they know they are inside. "I broke my own heart," Tony says, "and I need some help to fix it."

themes, language, violence, drugs

23.Apr.20

Performances have an improvisational feel to them, creating terrific ripples in the interaction while casually throwing away hilarious punchlines. Bauman-Murphy and Dennis are both likeable, witty and refreshingly unable to take themselves seriously, and they are also effortlessly able to flip from silly to serious in a moment, sometimes maintaining both at the same time. Side characters remain mainly on the fringe, although Grody, Alfano and Hess get some terrific running gags of their own.

In addition to the light comedy, there are some darker dramatic moments along the way that add a gentle edge of realism, although Dennis resolutely resists adding any resonant themes into the mix. There isn't much of a doubt about there the story is headed, and the journey is uneven, with some genuinely funny jokes and others that fall flat. But Dennis' approach is messy enough to keep the audience watching. And where the plot goes has a refreshing absurdity to it that catches us off-guard, ultimately leaving us with a smile.

themes, language, strong imagery

27.Apr.20