What starts as a semi-amusing, if navel-gazing, journey of discovery for Adam Brody (Damsels in Distress), quickly becomes something darker for the audience observing the discussion duets. Each vignette exposes another layer of Brody’s truth. I had expected something a little lighter and funnier, but this is not that film. The fact that Brody’s character doesn’t even have a name, unlike the women, tells you a bit about the focus and judgement of Neil LaBute’s (Some Velvet Morning) script that brings LaBute’s own play to screen.
Brody’s supporting cast is, frankly, more of what had me load up the film. They are quite the range of talent and styles: Zoe Kazan (The Big Sick), Jennifer Morrison (Bombshell), Emily Watson (The Happy Prince), Kristen Bell (Veronica Mars), and Mía Maestro. Each encounter exposes an aspect of Brody, and each section is intended to have the viewer self-examine their own lives, at least just a little.
Daisy von Scherler Mayer’s direction was adequate. She adapted to each story and character well enough, but she never quite made the uncomfortable moments feel natural and real. There was still a sense of it being forced and heightened as if it was a filmed play rather than a movie. Some of that has to fall to LaBute’s script, but it was Mayer’s job to smooth that over.
As a sort of curious mystery and exposé of a particular kind of young male life, the movie has some value. But it doesn’t really come together so much as take us through part of an endless journey. Whether you want to take that journey will have to be up to you. None of the performances are exceptional, and the message is a little dark if you are hoping for light distraction.