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The actors have little choice but to go far over the top with their performances, so there isn't a single character in here who feels believable. Fowlie's Terry is relentlessly smug, doubling down on the exaggerated sneery egomania. But he rattles off hilarious lines of dialog without flinching, and builds spiky chemistry with Washington's enthusiastic bride, plus some fierce rivalry with the bridesmaids. The only even vaguely subtle performance is by Seabrooks as an Uber driver Terry drags into the mayhem.

It's difficult to understand who this was made for, as its never as gay or lusty as its intended audience will want it to be. The continual sexual references keep things spicy, but never pay off in a way that's satisfying. Thankfully, along the way there are plenty of astute observational jokes that make the characters likeable in the most unexpected ways. Aside from corny casual comments on monogamy and true love, there aren't any themes to speak of. But it's diverting while it lasts.

themes, language, violence, sexuality

4.Jun.23

Each of the actors is committed to his or her character, which makes them interesting even if they're not hugely sympathetic. At the centre, Webster and Lourie have nice chemistry but are so self-involved that it's impossible to generate much concern about where they're headed. For Charlie and the tattoo girl, heroin and sex are merely mild diversions, rather than crippling problems. Side roles are broader, seen through their eyes as losers they need to transcend; these ace scene-stealers provide enjoyably nutty textures.

Nothing like the usual junkie heist comedy, this film depicts actions that are wildly reckless, although they are played as merely hapless. Charlie may be high, but he functions in his unambitious, limited day-to-day. The tattoo girl doesn't like to go outside because in her home alone she can be in control of her life, apparently due to childhood abuse. While these themes feed cleverly into the narrative, they remain unexplored by the screenplay, even as things get startlingly dark and twisted.

themes, language, violence, sexuality

13.Jun.23

Performances are as understated as the filmmaking, often whispery and inexpressive. But each character feels realistic, with flashes of wit and insight. O'Driscoll is a likeable lead, nicely depicting the thoughtful Jaime's churning internal emotions. And Laporte brings an engaging openness to Marike. Their chemistry is played with an almost severe subtlety; it's inexorable and also scary, which sharply reflects their situation. Of the supporting roles, only Freeman is allowed to show much personality, the one person on-screen who isn't hugely repressed.

The connection between Jaime and Marike is played with knowing authenticity, full of tiny details that reflect the film's autobiographical nature. This creates a remarkably astute exploration of teenage yearning, with added transgressive religious issues that intriguingly both divide and unite these teens. This also gives the story a melodramatic vibe, although the low-key approach sidesteps any overwrought emotion, instead creating situations that resonate with an underlying sense of desire and urgency.

themes, language

6.Jun.23