That chewy title doesn't have the same ring as Me and Earl and the Dying Girl, though coincidentally, both are self-satisfied films that confuse aesthetic calculation for artistry. In multihyphenate Ty Hodges' glib bro-down of a psychological thriller — a dopey, Inception-lite fantasy better served as a movie-within-the-Entourage-movie — square-jawed but otherwise characterless blond Trevor (Toby Hemingway) is distressed by his precarious grasp on reality. Did he kill his vampy, one-dimensionally written girlfriend Savannah (Emily Meade), or did someone else kidnap her, and what do all his sinister thoughts and suicidal dreams mean?
"Cognitive dissonance," suggests Eric Roberts' golf-putting therapist, their session a storytelling crutch to recall the layers of truth in flashback. But narrative coherence quickly frays once Savannah's pot-smoking, gun-toting, Shakespeare-quoting playwright pal Charlie (Hodges) is introduced, the director giving his manic character plenty of screen time without Trevor present ... oops. Beyond its implausibilities and pseudo-profundities about consciousness, the film boasts a Bret Easton Ellis novel's worth of meaningless sex and tedious drug scenes with the amount of overeager post-production splash seen in the Crank movies. Hodges takes some wrong lessons away from filmmakers he admires, but at least we know he likes Tarantino, Spike Lee and Fight Club.
Ty HodgesEric Roberts, Ty Hodges, Toby Hemingway, Emily MeadeTy HodgesMatteo Tabib, Sa San