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McNulty has the livelier character, a jokester who continually pushes Ben out of his comfort zone. And indeed, Gower has the tougher role as the rather humourless but still likeable Ben, who reluctantly begins enjoying Mark's radical plan. In the flashbacks, Bottomley and Senneck cleverly recreate their chemistry, revealing the origins of the dynamic between them. And while the focus remains tightly on the two men, there's fine support from Thakrar, Merchant and Stansfield in smaller roles.

Buhler finds a terrific balance between the bleaker emotional angles of the narrative and the fizzy humour that keeps each scene grounded in earthy humanity. Mark and Ben's friendship is complex and involving, and there are a variety of surrounding relationships that have provocative edges to them, sparking conversations about salient issues from mental health to consumerism. So while the storytelling may sometimes be a bit timid, this is a lovely reminder not to let ourselves become imprisoned by the past.

themes, language

8.Feb.21

Raiff has awkward charm as Alex, a smart kid who's only beginning to learn to be himself. His clumsy approach is enjoyably echoed in the film's scrappy indie style. By contrast, Gelula's Maggie is sardonic and worldly, but still trying to find herself. Alongside them, Miller has terrific presence as the surprisingly complex stoner who in his own immature way encourages Alex to grow up. And both Landecker and Welch have some great moments as well.

Much of the humour in this film is of the brittle variety, anchored in the fragility of human connections. While the script seems structured as a romantic comedy, it has more intriguing things in mind, sending Alex on an odyssey that pushes him out of his comfort zone to face a few hard truths about the big bad world. Best of all is his realisation that he needs to throw himself fully into living his life without pining for the past. It's a simple message evoked in a way that hits a nerve.

themes, language, sexuality

15.Feb.21

Performances are uneven, matching the arch filmmaking style. Since most of these people are pansexual, it's tricky to work out what they're after. At least there are some nutty wrinkles stemming from the four lead characters' history in high school. Raymond and Smick have fun in the central roles, as Christian and Danny's twisted partnership creates plenty of chaos. And Boivin brings her own angst to the story. But none of the actors is particularly subtle.

Aside from a gentle satire of the secret debauchery of the rich and famous, there isn't much going on under the surface. And Ramsey never quite gets a grip on the lurid plot, leaving key points unexplored and undefined while failing to get under the skin of any of the characters. So while it's entertaining as a twisted bit of intrigue in which it's never clear who's trustworthy, there's nobody on-screen to identify with or care about.

themes, language, violence, sexuality

9.Feb.21