Dark humour and pinball timing don\u0027t quite add up to something memorable
feel like an artefact from a different time, and an oddly irrelevant one at that. Though clearly trying for a similar vibe – it opens with a trail of Crumb-like images, humans drawn as grotesque and hyper-sexualized, disproportionate caricatures – there’s no based-in-fact backing, save for the admittedly fertile mind of writer/director Owen Kline, whose first feature this is.Sign up to receive the daily top stories from the National Post, a division of Postmedia Network Inc.
The brief timeline of the film doesn’t allow for much coming-of-age, though Robert does cross paths with Wallace , an honest-to-goodness comic-book artist who brusquely informs the kid that he was basically an assistant to an assistant. Robert remains professionally smitten nonetheless. The humour here is as dark as printer’s ink, its pinball-ricochet timing a hallmark of producers Benny and Josh Safdie . And it may not be to all tastes – there’s an undercurrent of violence in Maher’s performance that is clearly designed to make audiences squirm.
There’s also a weird, anachronistic tone to the setting. For a large swath of the film I was certain it took place in the early 1990s or before, until a fairly modern laptop had me revise that estimate by at least a decade.completely, but they were distracting enough to let my mind wander to some of those older, better films, which is never a good thing. If you haven’t seen them, you may want to seek them out first. Or, free of their shadows, you might find this tale to be enough.
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