Lymelife [2008]

MPAA (R)  Roger Ebert (3 1/2 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb listing
Roger Ebert's review


Lymelife [2008] (directed and co-written by Derick Martini along with Steven Martini) is an award-winning indie film that was recommended to me since I had clearly enjoyed/appreciated Derick Martini's more recent film, Hick [2012]. (Readers of this blog will know that I enjoy small, imaginative, well-acted/crafted projects like said Hick [2012], The Future [2011], Rid of Me [2011], Damsels in Distress [2011], Small Beautiful Moving Parts [2012], Safety Not Guaranteed [2012], and even foreign equivalents of these kind of projects like Avé [2010] from Bulgaria, Riscado (The Craft) [2011] from Brazil and Ha Algien Visto a Lupita? (Have You Seen Lupita?) [2011] from Mexico.  Please check my listing of Independent-Art House Films for a full listing of any number of such films that I've reviewed here.  These _small films_ often available for download via Amazon, iTunes, or various other On Demand services before becoming available through NetFlix or Blockbuster.com are IMHO, often enough, a true joy to watch).

Very good, Lymelife, is a coming of age story set in suburban Long Island in the early 1980s.  The story centers on Scott Bartlett (played by Rory Culkin) a 14 year old, preparing for Confirmation (the first time he's ever going to be officially called an adult), who has an enormous crush on the one year older Adrianna Bragg (played by Emma Roberts).  The two, indeed the two families, neighbors, have known each other for years.  Indeed, Adrianna's mother Melissa (played by Cynthia Nixon) has worked as an assistant to Scott's father Mickey (played by Alec Baldwin) in his local real estate development firm.

Business has been good, indeed booming.  As a result, Scott's father and Adrianna's mother have been spending far more time together than they probably should have, while leaving the other two parents/spouses -- Adrianna's father Charlie (played by Timothy Hutton) who had come down with the then utterly bizarre and previously unheard-of ailment called "Lyme Disease," and Scott's mother Brenda (played by Jill Hennessy) who had never really adjusted to suburban life and was still "pining for Queens" where she grew up -- behind.

So even as Scott and Adrianna are really in the beginning stages of growing-up and discovering themselves, they're also doing this in an environment where their parents are living in a very unstable situation.  Needless to say, much ensues ...

A remarkable aspect of this movie is that it is so well written and directed that one can understand and appreciate the point of view / motivations of _everyone_ of the major characters in the story.  To give an example: In a fit of frustration about how things were going (and really not going) with Adrianna, Scott spreads a rumor about her to friends at school.  We get to understand/appreciate why did it.  We also get to appreciate how Adrianna had to deal with it after it was done.  Finally we get to watch how the effect of "The Rumor" dissipates and the two characters can move on.  (And this is just a part of the story involving the teens.  The relationship between the adults and the adults with their kids is _all the more_ complex and fascinating.)

Would I recommend this film to parents for their teenage kids?  Well, folks, the film is _kind_, but it is also real.  You're definitely gonna squirm at times.  But, yes, giving you the warning that both you and your teens are going to squirm at times, I would certainly recommend it. 

Finally, I would honestly encourage readers here to take a look at the list of actors' names that are involved in this project.  This was _a small film_ but it did attract some really big names and _deservingly so_.  It was a nice, nice and at times painful/poignant story that was told here.  Honestly, good job all around! ;-)


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The Apparition [2012]

MPAA (R)  CNS/USCCB (A-III)  The Onion/AV Club (D)  Fr. Dennis (2 Stars)

IMDb listing
CNS/USCCB's review
The Onion/AV Club review

The Apparition [2012] (written and directed by Todd Lincoln) seems me to be a thoroughly average post-Paranormal Activity [2007] low budget horror film. This is not to say that the current film is simply a "knock-off" of the PA franchise.  As a decent enough "genre film," The Apparition does pay homage to some of the genre's tried-and-true formulaics (notably in terms of subtext) even as it tries (perhaps even quite boldly) to advance the genre as well.  Where The Apparition fails perhaps is in execution.  But then, The Apparition aims simply to be a "b-movie" in our time.  It didn't have the budget to execute better than it did. 

Subtext.  One thing that The Apparition does better than the Paranormal Activity franchise is that there is actually discernable subtext to the current film something that was largely lacking in the PA franchise.   The first Paranormal Activity [2007] film simply played itself out in a random house in a random subdivision in suburban San Diego in Southern California.  In contrast, The Apparition, while borrowing from the PA franchise its "house" setting, anchors itself in two phenomena in America (post-2008 Financial Crisis) today:

(1) The house in which the two protagonists live is in a _largely empty_ subdivision at the edge of the Southern California metropolis, empty because the housing crash resulted in a collapse in new home construction and in a wave of foreclosures among those who owned (or speculated on the prices of) existing homes.  So the two find themselves living in basically a "ghost subdivision."

(2) The two principal protagonists of the story live in the house that they do (in that "ghost subdivision") on behalf of one of their parents to both try to protect what's left of that previous investment (so that it's not completely lost) and because as students (or recently graduated students) they simply can't afford to live anywhere else.  (The whole Occupy Movement of the Fall of 2011 was largely driven by students'/young people's anxieties over student debt and their future).   So even before the two protagonists. Ben (played by Sebastian Stan) and Kelly (played by Ashley Greene), find the house in which they are living in to be "haunted" in a particular way, they are already dealing with multiple levels of anxiety. 

Now why is the house haunted?  Here in the tradition of American b-movie horror films, writer-director Todd Lincoln seeks (perhaps) to develop "demon motiff" (obviously) present in the Paranormal Activity franchise and perhaps other recent films like Insidious [2011].  Who are these demons?  And why would they entering into this world?  (POSSIBLE SPOILER ALERT)  Without getting into too much detail here, The Apparition suggests that these entities, if certainly "driven" and arguably "hungry", they are not necessarily "demons" in the classical sense (ie "they are simply Evil").  Instead, writer-director Todd Lincoln suggests that they may simply "entities from another plane" whose motivations we presently don't understand (something more akin to the entities from the sci-fi Predator franchise).  This is an interesting, arguably "scientific" approach to what has previously been relagated to the realm of, well, Religion :-).

As a Catholic priest, I do find Todd Lincoln's idea interesting.  However, I'm pretty sure that I wouldn't necessarily want to pursue the "study" of these "beings from another plane."  Science has brought us enough problems with "containment" of "toxic materials" and preoccupations with their "safe handing/disposal" as it is.  And indeed, once Ben and his friends realize that they had inadvertently opened a path for these "beings from another plane" to enter into our world (through a bone-headed, "seance" that they conducted while still in college some time back), some of them begin to use the language of "containment" to seek (of course futily...) to put a lid on the problem.

Anyway, The Apparition [2012] is not by any means a "great movie."  Instead, it seeks to be a "b-movie," of the type that was famous in the 1950s-60s when Invaders from Mars [1953], The Blob [1958] and so on were the rage.  And yet those movies, like this one, were rooted in anxieties of their time.


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Hope Springs [2012]

MPAA (PG-13)  CNS/USCCB (L)  Roger Ebert (3 Stars)  Fr. Dennis (4 Stars)

IMDb listing -
http://www.imdb.com/title/tt1535438/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv089.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120807/REVIEWS/120809990

Hope Springs (directed by David Frankel, written by Vanessa Taylor) is a movie that, I admit, I did not go enthusiastically to see.  To be sure given the actors involved, notably Meryl Streep and Steve Carrell, but also Tommy Lee Jones (who IMHO was cast _perfectly_ for his role), I fully suspected that the film would be excellent.  But like many others, I wasn't sure I really wanted to sit through a film exploring the marriage (and yes, sex life) of an older couple, much less pay for it.  However, having done so, I do think that the film is worth a view.  After all, "we're not 20 forever," and we are generally living longer.  It behooves us to seek (and find) happiness in our lives and in our relationships (with each other, and I would add, with our God) when we find ourselves in our late-40s, 50s, 60s, 70s and into our 80s and perhaps even beyond.  Otherwise, we'd find ourselves facing a _long_ period of progressive decline and increasing unhappiness.

The film begins with a Nebraska couple, Arnold (played by Tommy Lee Jones) and Kay (played by Meryl Streep) "having the kids over" for dinner (Kay made "prime rib") to celebrate their 37th wedding anniversary.  It's "an odd year," so the the sensible pair felt no need to celebrate it in a bigger way.  When one of their daughters asks them what they got each other for this "not particularly important" anniversary, they answer "a new cable TV package."  They assure their kids and their spouses "it has a lot of channels..."  The younger generation is unconvinced, but seem to say to themselves heck "that's ma' and dad, perhaps when we're 'old' we'd do the same."  After the kids leave, we see what the "new cable package" actually means for Arnold and Kay:  While Kay washes the dishes, Arnold falls asleep in his chair watching a a program "about improving his golf swing."  Sigh ...

A few days later, Kay, who works in a clothing store in town, talks to her co-worker Eileen (played by Jean Smart) about the rather depressing / no longer going anywhere / "static" apparently "just waiting to die" state of her marriage.  As a result of the conversation, she decides to go to a book store afterwards, where she finds a book by "relationship guru" Dr. Feld (played by Steve Carrell) who promises older couples like Kay and Arnold that they _don't_ "have to settle," that they _can_ continue to have a marriage that excites them and fulfills them as they grow old(er) together.  Kay looks up Dr. Feld's website on the internet and is immediately impressed.  This is what she wants a marriage that continues to excite her even after 37 years, rather than resigning herself to the same routine, day-after-day, until mercifully through "death do they part."

Arnold, of course, _has resigned himself_ to the day-to-day routine -- He gets up each morning, showers, dresses for work, eats the breakfast that Kay's prepared for him each day, kisses her (on the cheek), goes to work (apparently for some insurance company), comes home from work, eats the dinner that Kay's prepared for them, and then crashes in front of the TV-set to watch "the Golf Channel" to get some tips about "improving his game" (which it appears he doesn't play much anymore anyway).  Some years back he had a back problem and then "some sleep apnia" (he snores).  As a result, he's been sleeping in the guest room (for years) anyway.  It's not exactly an exciting life, but Arnold's resigned to it and generally happy with it, and doesn't understand why Kay would want to "shake things up." (Of course, he's not the one getting up to cook his breakfast and only getting a perfunctory kiss on the cheek and perhaps a mumbled "'love ya" afterwards as he "rushes" then to work...).

Fortunately, Arnold does have a friend at work, Vince (played by Brett Rice), who is able to "hear" for Arnold what he himself would have otherwise missed.  When Arnold complains to him that Kay "had this crazy idea" of going out to Maine for a week to take an intensive seminar by this Dr. Feld, it is Vince who convinces him to go, telling him that if had listened to his wife when she had wanted to do something similar, he wouldn't be going home "to nothing" these days.  (Indeed, one of very _nice_ aspects of this film is the attention given to the friends of both Arnold and Kay (Eileen and Vince) in the story.  Their roles are not large but important).  So Arnold grudgingly goes with Kay to Dr. Feld's "intensive couples' seminar."  And much, of course ensues ...

Here I want to say that the performances of all three of the princpal actors Streep, Carrell and Jones were all excellent.  I've come to expect this (for different reasons) from both Streep (heck she's a "living legend") and Carrell (he really seems to be on a mission use film and his career to make people, common, regular people, happier ... honestly look at Carell's career and the roles that he's taken.  He's been _repeatedly_ willing to take the role of "the schmuck" for the sake of bringing greater happiness to others.  And someone _like me_ "in my line of work" simply has to admire and _applaud_ that).  The performance of Tommy Lee Jones was more of a surprise to me.  To some extent he played  the same role that he always plays -- of a "crotchety older man."  However, he plays it absolutely perfectly here and with enough depth / surprising nuance that one gets to better understand his character and also understand how/why a character like his _could change_.

So I want to say that this film is worth seeing.  It is not exactly a slick/glamourous movie.  After all, it's about a supremely average and aging "white collar" couple from suburban (Omaha?) Nebraska trying to find happiness and fulfillment in their lives after being together for 37 years in marriage.  But I do think that ANYBODY who's "been there," is approaching "there,"_is_ "there," would appreciate the film.

Finally, I would remind readers here that a surprising number of the stories that we find in the Bible are about "older people" given a new lease of life.  Abraham was called by God when he was 75 (!!).  Sarah (Abraham's wife) became a mother (became surprisingly _generative/creative_) at 90 (!!).  Moses only saw the "burning bush" when he was 80 (!!).  In each case, arguably their lives ONLY BEGAN THEN.  Their many decades of life before were actually just prologue.

In our youth obsessed time, the Good News of this may be difficult to fully appreciate or fathom.  But it does appear that the God of the Biblical Scriptures wants us to be happy and find purpose/fulfillment.  There are certainly times in our lives where we may (like Abraham/Sarah, Moses/Israelites) find ourselves "sterile" and/or "wandering through the desert" for long periods of time.  But we are told that we can find ourselves, fulfillment and even God at 75, 80, 90 or 100.  This is something to remember when we find ourselves perhaps wondering if "our lives are over" and/or "our best years are behind us."


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Cosmopolis [2012]

MPAA (R)  Roger Ebert (2 Stars)  Fr. Dennis (4 Stars)

IMDb listing -
http://www.imdb.com/title/tt1480656/
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120822/REVIEWS/120829995

Cosmopolis (screenplay and direction by David Cronenberg, based on the novel by Don DeLillo) is an eiree, and excruciatingly slow-moving film about "the day" a 20-something billionaire Wall Street magnate named Eric Parker (perfectly cast and played by Robert Pattinson of vampire Edward / Twilight Saga fame).  At the beginning of the film, we find Eric standing by his gigantic stretch limo presumably outside of his Manhattan office building deciding that he's going to "go for a haircut."

Most of the rest of the film takes place in the simultaneously coffin / casino like interior of his limo as the limo navigates the terribly slow moving traffic from his office to the barber shop in his old neighborhood to get his hair done.  Immediate parallels could be made to James Joyce's Ulysses [Amaz], Orson Welles' [IMDb] Citizen Kane (1941) [IMDb], and even Dante's "descent into Hell" in his Inferno.  For it's one heck of a slow-moving ride that Eric takes that day.

(SPOILER ALERT FOR THOSE WHO WOULDN'T WANT TO READ BEFORE-HAND WHAT ALL HAPPENS DURING ERIC'S LIMO TRIP TO THE BARBER).  During the course of his limo ride Eric (1) meets with various consultants who dutifully "wait on the curb" for "their master's limo" to pass by before entering its hallowed confines; (2) has the associate of his personal doctor give him his _daily_ physical complete with a prostrate exam (the real-time ultra-sound of which is dutifully displayed on the ghostly flatscreen monitors that grace much of the inside of the limo, even as Eric meets, face-to-face, with one of his consultants; (3) loses most of his fortune on an ill-conceived bet on the Chinese Yuan in the currency markets; (4) has sex twice, first with his French-accented 40-something "Mrs Robinson-like" longtime mistress (played by Juliette Binoche) who laughs at him for having apparently recently married his "cold fish" 20-something wife Elisa (played by Sarah Gadon) from an old moneyed patrician family, the second time with the wife of his trusted bodyguard (why? because he was bored? because he was miffed at his truly somewhat "cold fish" newly-wed wife? because he could? because he hated his trusted bodyguard precisely because he was so trustworthy? who knows? but was clear was that Eric didn't particularly care), (5) loses his wife, though not really for his beyond-obvious infidelites ("Eric, you smell like ...") but for the far more "unpardonable sin" of, well, losing his fortune in the course of the day...; (6) has the outside of his limo trashed by Anarchists (whose protests are partly responsible for the terrible traffic delays that Eric experiences that day); (7) gets "pied" by a Euro-loon "reality showman" who's "famous" for "pieing the rich and famous;" and (8) _possibly_ meets his death at the hands of a loser gunman (played masterfully by Paul Giamatti) who tells Eric that (a la JFK assassin Lee Harvey Oswald) the only way anyone was going to remember a loser like him would be if he killed someone as "important" as Eric.  And through the course of the day, the ghostly white complected Eric does not seem to care ... (END SPOILER ALERT).

The film (therefore) becomes a grand parable about a search for meaning.  Like the Buddha in his youth or the Biblical writer of Ecclesiastes/Qoheleth, Eric seemed to have it all, but none of it seemed to mean anything to him.  In Gospel terms, "What profit would it be to gain the whole world and yet lose one's eternal soul?" (Mark 8:36).  My sense is that Eric did not particularly feel that he even had one to lose...

It all thus makes for one heck of a movie IF one can bear its slow-moving pace and excruciatingly monotone dialog.  But then both the pace and the dialog were obviously intended to be that way.


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Premium Rush [2012]

MPAA (PG-13)  CNS/USCCB (L)  Roger Ebert (3 1/2 Stars)  Fr. Dennis (3 Stars)

IMDb listing -
http://www.imdb.com/title/tt1547234/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv098.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120822/REVIEWS/120829996

Premium Rush (directed and cowritten by David Koepp along with John Kamps) is a film about a New York City subculture (that of bicycle couriers) that I'm positive would annoy many residents/commuters.

On the other hand, I've known a fair number of cycling enthusiasts -- sometimes, while always nice people, they've bordered on being fanatics;-) -- that I went to the theater happy to enter "their world" for a while and to enjoy the ride.

The plot is clearly thin: Ace bicycle courier nicknamed Wilee (after Wiley Cayote from the Warner Bros. cartoon and played by Joseph Gordon-Levitt) is given what would seem to be a typical job -- carry an innocuous looking letter from one end of town to another.

However there are some surprises right from the start.  The client, turns out to be the quiet, studious Chinese roommate (named Nima and played Jamie Chung) of his girlfriend Vanessa (played by Dania Ramirez).  Vanessa also worked as a bike courier (on the side) but her main job was being a student (as of course was her roommate).  In fact, early in the movie it was clear that Wilee and Vanessa had something of a recent falling-out.  Vanessa had just graduated law school and bike-couriering/adrenaline junkie Wilee had missed her graduation.

Early one afternoon, Nima calls Wilee and Vanessa's South Asian dispatcher Raj (played by Aasif Mandvi) asking specifically for Wilee to run this letter, from her office at the university on one end of Manhattan to Chinatown near the other end.  Why did he choose him?  Well, from what she heard from Vanessa, "he was the best."  Much ensues ...

Among that which ensues is that almost immediately after receiving the letter and dutifylly putting it in his courier bag, someone, a man in his 30s-40s (played by Michael Shannon) wants the letter.  This man stops him right as Wilee leaves the Nima's building and asks for the letter (giving some story along the lines that he's actually the one who's supposed to receive it anyway).  Wilee responds AS ANY 20-SOMETHING with this kind of job would respond: "You see, sir, once I receive a package and put it in my satchel, I don't give it to anyone until I deliver it to the address requested," and leaves.  The man proceeds to chase Wilee first by foot and a few minutes later shows-up behind him in a car.  A chase then ensues ...

What's going on?  Well, I'm not going to say more because to do so would take away from the story, except to say that the story itself, while at times poignant/touching, is really beside the point.  What we viewers get in this movies is the opportunity to watch an hour and a half of some really, really cool bike-riding on the busy streets of Manhattan.

We also get a sense, in as much as bike couriers really cycle like this all over the streets of Manhattan of why these bicycle couriers would probably be hated by both motorists and pedestrians over there.  Still to more sedentary film critics the cinema-world over, THE SHOTS IN THIS FILM ARE JUST AWESOME.  Yes, Wilee, Vanessa and Raj work for a "Premium Rush" courier service.  However, just watching the film honestly gives one a rush as well!

So kids, PLEASE DON'T DO WHAT'S SHOWN IN THIS FILM.  The crazy cycling in the film is done by true stunt cyclists who know what they're doing.  On the other hand, I do have to say, THE FILM IS REALLY, REALLY COOL ;-) and anybody who's ever liked cycling or known a cycling enthusiast/fanatic before would certainly enjoy this film!  Good job folks!

ADDENDUM:

A specialized "niche" film like this inevitably brings the question of how many other "bicycle" films are out there.  A list is of such films, ranging from the Neo-Realist (and very sad) post-WW II Italian film, Bicycle Thieves [1948] to Spielberg's ET [1982], was compiled by the good folks MassBike Online and is given here.


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Hit and Run [2012]

MPAA (R)  CNS/USCCB (O)  Roger Ebert (3 1/2 Stars)  Fr. Dennis (0 Stars)

IMDb listing -
http://www.imdb.com/title/tt2097307/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv096.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120822/REVIEWS/120829991

I suppose we learn a number of things about Dax Shepard in the film Hit and Run, which he wrote, codirected (along with David Palmer) and costarred in: He likes cars, can write a decent slacker comedy/rom-com, but for some reason is either really stupid or a racist:

There is a scene in this film, which he wrote and codirected, in which co-star Bradley Cooper drags a large, otherwise powerfully-built African American man out of a convenience store with a leash around his neck and then proceeds to force feed the African American man the "slightly cheaper" dog food that he was trying to buy for his dog.

Was the scene necessary to the plot?  Even if "the point" was to portray Bradley Cooper's character, a former bank-robber as a psychopath, there would have been any number of ways that Shepard and the rest of his film-crew could have made it.  Instead, they chose _this_ way, which congers up the dragging death (SENSELESS MURDER) of James Byrd, Jr in Jaspers Texas, one of the worst hate crimes to have occurred in the United States in past 20 years.

The choice of including this unnecessary scene is unfortunate because the movie is often very funny as both a "slacker comedy" and as a "romcom" about a smart talented, but not particularly confident young woman (who really should have been a professor, having gotten a PhD from Stanford University in "Conflict Resolution Studies") played by Kristen Bell, and a nice/supportive if not particularly bright ex-con played by Shepard.

Some more conservative Catholics/Christians would have probably objected to the generally lighthearted/positive portrayal of a couple of gay characters in the film.  Yet this is always the frustration when it comes to trying to take a stand against bigotry.  The film challenges anti-gay bigotry (even that, if we are honest, which exists within many places in the Catholic Church today) and then features the utterly needless scene above featuring the humiliation of an African American man.

Shocking hate crimes, after all, have been committed against homosexuals as well, notably in the case of the torture and de facto lynching Matthew Shepard in Wyoming a few  years after the Jame Byrd's dragging death in Texas.  (Dax Shepard shares Matthew Shepard's last name but is apparently not related to him).

So I am disappointed with this film and do hope that its young stars which include Dax Shephard, Kristen Bell and Bradley Cooper choose to do better in the future.  To carelessly walk into a situation which leaves viewers scratching their heads and wondering if the film-makers/actors were a bunch of racists, can't possibly be a wise career move.  After all, these talented young actors are one day going to want to work with likes of Zoe Saldana, Viola Davis, Will Smith, Denzel Washington and Morgan Freeman.  Yet, thanks to this film, they've probably made such future collaboration somewhat and _stupidly_ "awkward."


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Why Stop Now? [2012]

MPAA (UR) Roger Ebert (3 1/2 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1853643/
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120815/REVIEWS/120819988

Why Stop Now? (written and directed by Phil Dorling and Ron Nyswaner) is a well-crafted "indie" film about a young struggling classical musician named Eli (played by Jesse Eisenberg) who's had a really bad day.  Eli's mentor had gotten him a big break, a chance at an audition for a top of the line music conservatory in Boston.  But Eli comes to the audition late and with one of his hands (!) in a bandage.  His mentor asks: "What happened?"  "Well if you've had the day that I've had, you'd understand ..."  The rest of the movie follows.

Eli begins his explanation "Actually my day began the night before.  A rich jerk down the street was throwing a party and I, of course, wasn't invited.  And so I, of course, had to show-up anyway..."  Eli crashed the party, had gotten really drunk, and just as the host was going to throw him out, Eli spotted a piano.  He forced himself to it, sat himself down, played enough bars to impress everyone there, and then stopped and threw-up right next to it.  That of course got him now definitively thrown out of the place and probably more roughed up than he would have been if he had just left the party quietly ...

The next morning, clearly hung-over from the night before, he had to face the tasks of the new day.  He had, of course, the audition sometime in the late morning/early afternoon.  But before that, he had to get his mother Penny (played by Melissa Leo) finally to rehab.  Of course, she didn't particularly want to go, saying, of course "My problem isn't _that bad_, etc."  But even before that, he had to take his little sister Nicole "Coli" (played by Emma Rayne Lyle) to school.  By now you could imagine that Coli would have come to have some "issues" of her own.  And, of course she does: she's made a hand puppet out of a sock (actually put a face on it and all that...) and through this hand puppet friend who she calls "Diego" (I believe), she's been able to vent a lot of anger at the world.  Basically she's been (err.  "Diego's been"...) telling teachers and other school kids to "go to hell" and so forth.  So when Eli and ma (going to rehab ...) come to drop Coli at school, there's her teacher waiting for them, waiting to talk to her ma' (and Eli if ma's really going to go to rehab...) to tell her/them that, well, Coli's "got problems" that need to be dealt with ... Eli tells teacher that well "we know..." but that he has to take ma' to rehab first ... (Folks, if you've ever thought that your life's been a mess ...)

So Coli's been dropped off at school and now Eli and ma' are standing in front the rehab center.  Will ma' actually go in?  Well after some further persuading, she does ... and about 20 minutes later she's steps out again.  WHY????? Well, she hasn't actually used drugs in 4-5 days and so her urine tested clean!  The attending official told her that without dirty urine (and no insurance on her part) he can't let her in.  But he (seriously ... ;-) suggested to her that she "go get some drugs, get high, and come back then with the needed ditry urine" and THEN he could admit her...

It is here where the movie really begins.  Along the course of the rest of the film, we get to meet Ma's drug connections, two brothers nicknamed Sprinkles (played by Tracy Morgan) and Black (played by Isiah Whitlock, Jr) as well as their supplier Eduardo (played by Paul Calderon).  Very much ensues ...

Why Stop Now? proves to be a very funny, well crafted comedy about someone's epicly "bad day."  I also think that Jesse Eisenberg proves here that he may be the true successor to Woody Allen's nerdy on-stage persona.  And Melissa Leo certainly proves again (as she did in The Fighter [2010]) that she can really play some difficult/challenging moms.  Again, if you've ever thought you had it rough ... ;-)

ADDENDUM:

Like many independent films, while "in theaters in major markets," this film is available through the IFC Video On Demand service (type in your zipcode and cable provider to see if this service as available to you) as well as for download (for $6.99) via the Sundance Now service.  Eventually, these films become available for rent in the U.S. via NetFlix or Blockbuster.com.


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