Sundance 2012: Rest of Fest

And the winners are...

Article first published as Sundance 2012: Rest of Fest on Blogcritics.

Ah, another year, another Sundance Film Festival all wrapped up. While I didn’t get to see anywhere near as many films as most members of the press, it’s still always a blast to head up Parley’s Canyon in Utah to catch as many as I can. While I don’t try to rub any elbows in Park City, sometimes it just can’t be helped. When you’re standing on the bus next to Mary Elizabeth Winstead (who seemed delighted to be asked if she really was MEW) you try not noticing. Other celeb spottings (excluding Q&A sessions that is) included Anthony Mackie, Paul Dano, and I was asked if I knew where the restrooms were by Jason Ritter. There may have been more but you just don’t seem to really notice most as they’re usually as bundled up from the cold as you are.

As far as lounges and parties go, I was only able to attend one of each. Along with my fellow press associate Luke Hickman (HighDefDigest.com), our first stop was to the CW3PR RE:treat at the Park City Sky Lounge. Reported celebrity guests included Emily Blunt, Kate Bosworth, Liv Tyler, James Marsden, Ty Burrell, Danny Glover, Justin Long, Jason Mraz, and Traci Lords. There was also lots of swag of which none was offered. Among them were Paul Mitchell, Remix watches, Lyon Fine Jewelry, Alex Stein, and Groupon. While we were hoping to at least manage to be treated to a Burt’s Bees lip balm, it was no such luck, as they seemed to be in a location war with Vita Coco Coconut Water. We grabbed a couple bottles for the road before stopping by the Patron bar where I was lucky enough to be helped to a rather large glass of one of my favorite wines: Moab, Utah’s own Castle Creek Winery’s Gewurztraminer. Unfortunately, I was not able to

Unfortunately, I was not able to make it to the Bertolli Meal Soup Chalet hosted by Gen Art. So we bid farewell to our single lounge stop before we headed back out to try to catch at least one more film before the impending storm began to wreak havoc. Luke was lucky enough to already have a ticket arranged to see Mark Webber’s “The End of Love,” however, I was stuck in what I coined as the waitwaitlist line. Typically the actual waitlist line is where people without tickets can stand in line and obtain a number where they return at least a half hour before the film begins in hopes that one can manage to buy a real ticket.

While Luke confirmed that there were still tons of open seats, I think they cut the line off in order to get the show on the road. No skin off my back. This was when I happened to hop on a bus back to the local Fresh Market grocery store and I managed to stand next to the always gorgeous (even in a shaky bus taken photo) Mary Elizabeth Winstead. It took some fast Googleing to make sure it was really her (i.e. height check and a photo of her husband, Riley Stearns, who was with her) as she was bundled up for the weather and wearing far more makeup than we’re used to seeing in her films (confirmed by her presence during the Q&A of “Smashed”). I have to admit, while I was unusually ballsy enough to ask to take her picture, I didn’t even think to mention I had a ticket in my credentials pouch for the upcoming screening during the week back in Salt Lake City at the Rose Wagner. Although she seemed flattered when I told her that Luke’s wife was Ramona Flowers this past Halloween.

Over opening weekend Luke and I also were invited to a late night party at “The Compound.” Presented by Skullcandy and Bandpage, the night we attended was supposed to be when the scheduled performers were LMFAO (the only reason I wanted to attend anyway). However, due to their cancelation, the new performer and DJ for the night was rescheduled to be Lil Jon and Cisco Adler with food catered by Coalatree Organics BBQ. Coalatree seemed to not want to have arrived early enough to have any food prepared for the early arrivals and while the chicken in their chicken tacos seemed pretty tasty, the tortillas were standard white corn and too far on the dry side. The other sad news for the party is that we also arrived way too early as not even Skullcandy was present. But it was fun to overhear someone spilling the beans that the skinny girls in the tight outfits were being paid to attend. Oh well, better luck next year for us.

This year also managed to feature the one film I have ever truly loathed with every ounce of my being while at the Festival. The less said about “The Comedy” the better. It makes me cringe to think that one percent of the festival’s submissions are shown every year and somehow, someone thought this was better than the other 99%. Jimmy Martin of SLUG Magazine/Big Movie Mouth Off owes me big time for talking me out of line for “The First Time” (which received great word-of-mouth) to suffer through the second film of the festival to feature Tim Heidecker and Eric Wareheim (the other being their own disastrous “Tim and Eric’s Billion Dollar Movie”). At first I thought maybe it was going to be a film with lots of uncomfortable comedy, maybe along the lines of “Borat,” but director/writer Rick Alverson and co-writers Robert Donne and Colm O’Leary, and the cast, are about as far from the brilliant masterminds of Sacha Baron Cohen and Larry Charles. “The Comedy” is the ultimate in both false-advertising and anti-film.

On a final and lighter note, here are the winner’s for this year’s 2012 Sundance Film Festival. Congratulations to all, even if I only saw one (“Smashed”) winner…

The Grand Jury Prize: Documentary was presented by Charles Ferguson to: “The House I Live In” / U.S.A. (Director: Eugene Jarecki)

The Grand Jury Prize: Dramatic was presented by Justin Lin to: “Beasts of the Southern Wild” / U.S.A. (Director: Benh Zeitlin, Screenwriters: Benh Zeitlin, Lucy Alibar)

The World Cinema Jury Prize: Documentary was presented by Nick Fraser to: “The Law in These Parts” / Israel (Director: Ra'anan Alexandrowicz)

The World Cinema Jury Prize: Dramatic was presented by Julia Ormond to: “Violeta Went to Heaven (Violeta se Fue a Los Cielos)” / Chile, Argentina, Brazil, Spain (Director: Andrés Wood, Screenwriters: Eliseo Altunaga, Rodrigo Bazaes, Guillermo Calderón, Andrés Wood)

The Audience Award: U.S. Documentary, Presented by Acura, was presented by Mike Birbiglia to: “The Invisible War” / U.S.A. (Director: Kirby Dick)
The Audience Award: U.S. Dramatic, Presented by Acura, was presented by Mike Birbiglia to: “The Surrogate” / U.S.A. (Director and screenwriter: Ben Lewin)

The World Cinema Audience Award: Documentary was presented by Edward James Olmos to: “SEARCHING FOR SUGAR MAN” / Sweden, United Kingdom (Director: Malik Bendjelloul)

The Best of NEXT <=> Audience Award, Presented by Adobe Systems Incorporated, was presented by Tim Heidecker to: “Sleepwalk With Me” / U.S.A. (Director: Mike Birbiglia, Screenwriters: Mike Birbiglia, Ira Glass, Joe Birbiglia, Seth Barrish)

The U.S. Directing Award: Documentary was presented by Fenton Bailey to: “The Queen of Versailles” / U.S.A. (Director: Lauren Greenfield)

The U.S. Directing Award: Dramatic was presented by Lynn Shelton to: “Middle Of Nowhere” / U.S.A. (Director and screenwriter: Ava DuVernay)

The World Cinema Directing Award: Documentary was presented by Jean-Marie Teno to: “5 Broken Cameras” / Palestine, Israel, France (Directors: Emad Burnat, Guy Davidi)

The World Cinema Directing Award: Dramatic was presented by Alexei Popogrebsky to: “Teddy Bear” / Denmark (Director: Mads Matthiesen, Screenwriters: Mads Matthiesen, Martin Pieter Zandvliet)

The Waldo Salt Screenwriting Award was presented by Anthony Mackie to: “Safety Not Guaranteed” / U.S.A. (Director: Colin Trevorrow, Screenwriter: Derek Connolly)

The World Cinema Screenwriting Award was presented by Richard Pena to: “Young & Wild” / Chile (Director: Marialy Rivas, Screenwriters: Marialy Rivas, Camila Gutiérrez, Pedro Peirano, Sebastián Sepúlveda)

The U.S. Documentary Editing Award was presented by Kim Roberts to: “DETROPIA” /U.S.A. (Directors: Heidi Ewing, Rachel Grady)

The World Cinema Documentary Editing Award was presented by Clara Kim to: “Indie Game: The Movie” / Canada (Directors: Lisanne Pajot, James Swirsky)

The Excellence in Cinematography Award: U.S. Documentary was presented by Tia Lessin to: “Chasing Ice” / U.S.A. (Director: Jeff Orlowski)

The Excellence in Cinematography Award: U.S. Dramatic was presented by Amy Vincent to: “Beasts of the Southern Wild” / U.S.A. (Director: Benh Zeitlin, Screenwriters: Benh Zeitlin, Lucy Alibar)

The World Cinema Cinematography Award: Documentary was presented by Jean-Marie Teno to: “Putin's Kiss” / Denmark (Director: Lise Birk Pedersen)

The World Cinema Cinematography Award: Dramatic was presented by Alexei Popogrebsky to: “My Brother the Devil” / United Kingdom (Director and screenwriter: Sally El Hosaini)

A U.S. Documentary Special Jury Prize for an Agent of Change was presented by Heather Croall to: “Love Free or Die” / U.S.A. (Director: Macky Alston)

A U.S. Documentary Special Jury Prize for Spirit of Defiance was presented by Heather Croall to: “Ai Weiwei: Never Sorry” / U.S.A., China (Director: Alison Klayman)

A U.S. Dramatic Special Jury Prize for Excellence in Independent Film Producing was presented by Cliff Martinez to: Andrea Sperling and Jonathan Schwartz for “Smashed” / U.S.A. (Director: James Ponsoldt, Screenwriters: Susan Burke, James Ponsoldt) and “Nobody Walks” / U.S.A. (Director: Ry Russo-Young, Screenwriters: Lena Dunham, Ry Russo-Young)

A U.S. Dramatic Special Jury Prize for Ensemble Acting was presented by Cliff Martinez to: “The Surrogate” / U.S.A. (Director and screenwriter: Ben Lewin)

A World Cinema Dramatic Special Jury Prize for Artistic Vision was presented by Clara Kim to: “Can” / Turkey (Director and screenwriter: Rasit Celikezer)

A World Cinema Documentary Special Jury Prize for its Celebration of the Artistic Spirit was presented by Richard Pena to: “SEARCHING FOR SUGAR MAN” / Sweden, United Kingdom (Director: Malik Bendjelloul)

The inaugural Short Film Audience Award, Presented by Yahoo!, based on online voting for nine short films that premiered at the Festival and are currently featured on Yahoo! Screen, was presented to: “The Debutante Hunters” (Director: Maria White)

The following awards were presented at separate ceremonies at the Festival:
The Jury Prize in Short Filmmaking was awarded to: “FISHING WITHOUT NETS” / U.S.A. (Director: Cutter Hodierne, Screenwriters: Cutter Hodierne, John Hibey). The Jury Prize in Short Film, U.S. Fiction was presented to: “The Black Balloon” / U.S.A. (Directors: Benny Safdie, Josh Safdie). The Jury Prize in Short Film, International Fiction was presented to: “The Return (Kthimi)” / Kosovo (Director: Blerta Zeqiri, Screenwriter: Shefqet Gjocaj). The Jury Prize in Short Film, Non-Fiction was presented to: “The Tsunami and the Cherry Blossom” / U.S.A. (Director: Lucy Walker). The Jury Prize in Animated Short Film was presented to: “A Morning Stroll” / United Kingdom (Director: Grant Orchard). A Special Jury Award for Comedic Storytelling was presented to: “The Arm” / U.S.A. (Directors and screenwriters: Brie Larson, Sarah Ramos, Jessie Ennis). A Special Jury Award for Animation Direction was presented to: “Robots of Brixton” / United Kingdom (Director: Kibwe Tavares)

Sundance 2012 Movie Review: “For Ellen”

Performances save the day during the last half.

Article first published as Sundance 2012 Movie Review: For Ellen on Blogcritics.

Knowing next to nothing about a film when you walk into a theater can be both a joy and a burden. It’s usually nice to know at least a synopsis. When all you know is that it stars Paul Dano, it leaves you with even less info. While a great character actor for sure, you just never know what kind of film it’s going to be. Dano has played everything from endowed teen Klitz in “The Girl Next Door” to Paul/Eli Sunday in “There Will Be Blood.” He even got to play a drunken cowboy in this past summer’s “Cowboys & Aliens.” Now Dano gets to explore a more personal side, dealing with growing up and letting go in writer/director So Yong Kim’s “For Ellen” (competing in the U.S. Dramatic category at the 2012 Sundance Film Festival).

Joby (Dano) has just made a long-distance overnight drive to meet with Claire (Margarita Levieva). The two are also meeting with their lawyers to go over divorce papers. What Joby doesn’t realize is that in order to receive his settlement, Claire wants him to give up his rights to their daughter Ellen (Shaylena Mandigo). After a hard night at the local bar, he meets again with his own lawyer, Butler (Jon Heder) to go over his options. That night, Butler invites Joby over to his mother’s house for dinner then the two head back to the bar where Joby starts to come to light on his situation. Joby makes a last ditch effort to see what he’s been missing and sets up a playdate with Ellen where he finally realizes that he truly wants whatever is best for everyone, even if it may wind up being the worst for himself.

I have to admit that during the first 45 minutes or so, I was not sold on the movie. I thought that Dano was trying too hard to channel young Nicolas Cage and the film sort of seemed like it was headed nowhere. Leave it to young Shaylena Mandigo to swoop in and save the day. With her big blue eyes, charming smile, and cute-as-a-button personality, she lights up the rest of the film. One scene toward the end may put a few viewers on edge as you start to question Joby’s intentions. Thankfully, director Kim keeps everything in perspective and lets the scene play out naturally instead of running things into the ground with melodramatics. So yes, “For Ellen” may be one of those tiny independent films you always hear people talking about during the Sundance Film Festival. But it is definitely worth a look if it ever pops up in a theater near you or at least on home video.

Movie Review: “Man on a Ledge”

He may be on a ledge, but you'll never be on edge.

** out of 5
102 minutes
Rated PG-13 for violence and brief strong language
Summit Entertainment

Article first published as Movie Review: Man on a Ledge on Blogcritics.

Sam Worthington was sure prepped and ready to become the next big thing. Too bad he still has yet to prove any kind of reasonable acting ability. While his turns in “Terminator Salvation,” “Clash of the Titans”, and “Avatar” gave him the chance to work with James Cameron, at least one of the others gave him some lee way in that he was playing a robot. Something he apparently still hasn’t gotten over with his portrayal of a man out to prove his innocence in “Man on a Ledge.”

Worthington was just fine in “The Debt,” but was of course completely overshadowed cast amongst Helen Mirren, Tom Wilkinson, and Jessica Chastain. When coupled with freshman director Asger Leth and a screenplay by TV movie screenwriter Pablo F. Fenjves, the writing’s on the wall as what to expect. Maybe if he Worthington wasn’t surrounded by mostly now B-list actors such as Edward Burns, Kyra Sedgwick, and William Sadler, everyone could have put on a better show. But as it stands, “Man on a Ledge” only seems to have Elizabeth Banks on its side in a role that seems like it was originally written for Bruce Willis to play in John McClane mode.

Nick Cassidy (Worthington) has just checked into New York’s Roosevelt Hotel. He tips the bellhop, orders champagne, eats a meal, writes a note, and climbs out the window. Of course he’s instantly noticed by passersby below and soon enough, Jack Dougherty (Burns) is called in and TV reporter Suzie Morales (Sedgwick) is on the scene. Nick has left behind no fingerprints and quickly becomes sensationalized gracing him his biggest fan in Hobo Joe. Nick demands to only deal with Lydia Mercer (Banks) who just happens to be the only cop on the scene smart enough to get a partial print of their mysterious jumper off of a cigarette butt. Flashing back one month earlier, Nick is in Sing Sing Correctional Facility for stealing a ginormous diamond from real estate mogul David Englander (Ed Harris, chomping scenery as feverishly as his character does cigars).

Nick is visited by his ex-partner Mike Ackerman (Anthony Mackie) who informs him that his father is on his deathbed. Soon enough, Nick’s father has passed and he manages an elaborate prison break after the funeral. Nick is now on the lam and winds up at a storage container full of evidence, a fake ID, rolls of cash, and a credit card. All this is used to check into the Roosevelt under an assumed identity but it’s all just a decoy for what’s really going down across the street. Nick’s brother Joey (Jamie Bell), along with his girlfriend Angie (Genesis Rodriguez), are out to “Ocean’s Eleven” the jewel Englander claims Nick stole from him. Now the three are on an impossible mission to break into Englander’s state-of-the-art vault and prove Nick’s innocence.

We’ve all seen this type of movie too many times before and there’s nothing new to see here. Maybe if director Leth was putting forth as much effort into this film into a better screenplay he could get his foot in the door. However, all he’s managing to do with his debut feature is put the first nail in his own coffin. Not to mention that writer Fenjves seems to think that his screenplay is the smartest “heist” film made in years, going so far as to think that the film needs some heart in all the wrong places. What “Man on a Ledge” only manages to accomplish is 106 minutes, is to prove why it was released in January.

Sundance 2012 Movie Review: “Robot and Frank”

Lightweight but greatly entertaining.

Article first published as Sundance 2012 Movie Review: Robot and Frank on Blogcritics.

The word cute can be thrown around a lot when it comes to movies. The same could be said about lightweight. But are either of these things really a bad thing? When there are always complaints that too many movies are rated R or the opposite – lots of films undeservedly rated R – there’s plenty of room for films that fit into these categories. "Fluff" is just one more word to throw on the pile but when a film is as entertaining as “Robot and Frank” (in the Premieres category at the Sundance Film Festival), I’m going to complain about it even less.

In Cold Spring, New York, a "robbery" is in place. It’s late at night and it appears that a burglar is out on a snatch and grab. Turns out it’s really just old Frank (Frank Langella) reliving the dream. Back in the old days he used to go on grand heists where now he’s stuck at home where his only escape is to the local library. There he gets to visit with Jennifer (Susan Sarandon) and discuss how the library is prepping for a major makeover and about to be turned into a social meeting place.

Frank’s son Hunter (James Marsden) returns for his weekly visit which he has started to feel like is a waste of a ten hour round trip drive to see his old man. This is why Hunter has decided to invest in a caretaker for Frank – a robot (voiced by Peter Sarsgaard). It washes dishes, makes meals, and starts growing a garden in the backyard, and has no off switch. At first Frank is completely annoyed by Robot who won’t let him eat whatever he wants insisting that he must eat better to gain the proper nourishment. He also sets up a sleep schedule to keep him from getting disoriented.

It’s not too long before Frank figures out that Robot is capable of learning new skills and comes with its own confidentiality agreement. Now Frank is teaching Robot how to pick locks and casing the library before moving on to a bigger target: Jake (Jeremy Strong), the man responsible for the antiquing of his beloved library. Jake runs a tight schedule with his wife and seems to leave lots of valuable jewelry home alone on a daily basis. Now Frank wants to relive the past by first confiscating an old copy of “Don Quixote” he wants to gift to Jennifer. It’s when his daughter Madison (Liv Tyler) shows up that everything may come to an end and Frank could risk either returning to prison or holed up in a retirement home.

It’s no surprise that Sony Worldwide and Samuel Goldwyn Films have partnered to distribute “Robot and Frank,” director Jake Schreier’s debut. With a screenplay set in the near future (2025 as writer Christopher D. Ford deadpanned during the film’s Q&A), they’ve infused the film with lots of humor and heart and keep the sci-fi to a minimum. The film is really about Frank himself and his adventure never gets overtaken by the “Minority Report”/“A.I.” angle. Frank Langella gives a hilarious performance made even funnier when he finally lets loose his two f-bombs which should keep the film at a PG-13 level, thankfully. Originally it is said that Frank was a much more foul mouthed character but as it stands, “Robot and Frank” is definitely one to keep an eye out for once a release date is arranged.

Photo courtesy Park Pictures Features

Sundance 2012 Movie Review: “The Pact”

A “Pact” not worth making.

Article first published as Sundance 2012 Movie Review: The Pact on Blogcritics.

When it comes to horror films, everyone may find something different to be scared of. While being attacked by a horde of balloons someone left as a gift on your doorstep in the middle of the night is one thing, manifesting fear in the context of film is another. What scares one, may make someone else laugh out loud and vice versa. But when the film is anything like Nicholas McCarthy’s “The Pact” (based on his short film from last year’s festival), it’s really just an excuse to rely on the old loud-noises concept to try to frighten your audience. But a good horror movie should be more than loud noises and supposedly ominous tones. I’ve heard awful things about the original short film, and I honestly can’t see how it could be any worse than the feature length version.

I’ll give credit to the opening sequence. It features a girl using a Skype-like app on her laptop who eventually starts hearing noises throughout the house, feeling creepy drafts on the back of her neck, and having to deal with a weak Internet connection. Picking up her laptop and wandering around the house may sound like a good idea while she’s trying to converse with her daughter. That is until she’s standing in the living room and her daughter says, “Mommy, who’s that behind you?” See, creepy and effective. Unfortunately, everything that happens after this opening scene spirals into the depths of mediocrity and eventually stupidity blowing all expectations to the wind.

The story progresses into a mystery hybrid mashup of “Insidious” and “Paranormal Activity” as if directed by Rob Zombie. It gets far too muddled even by horror cliché standards. When a character needs to find pertinent information, however, at least she has the power of Google to compel her. Caity Lotz is our heroine and she gives a good enough performance, but everything is completely undermined by director McCarthy’s big “reveal.” I won’t spoil the surprise, of course, but let’s just say that it makes absolutely no sense whatsoever. However, while I may have initially outright hated “The Pact,” I kind of respect it a little more after having had to sit through “Lay the Favorite” and the mother of false advertising: “The Comedy.”

Sundance 2012 Movie Review: “Black Rock”

Spending some time on this rock is well worth your time.

Article first published as Sundance 2012 Movie Review: Black Rock on Blogcritics.

The horror/comedy genre is something the Park City at Midnight category knows far too well at the Sundance Film Festival. While it is known to work spectacularly (“Tucker & Dale vs. Evil”), it definitely doesn’t work every time (“Troll Hunter”). And the same can be said about the genre in Hollywood itself; not every series can wind up with the success of “Scream.” Usually they suffer a box office death in spite of the level of brilliance on display (“Club Dread”). When I read that “Black Rock” was written by one of the Duplass Brothers (director Katie Aselton's husband Mark), I knew this had something going for it as the last time he ventured into this territory we were treated to “Baghead.” Together, for Aselton and Duplass, lightning definitely decided to strike as they pull off one of the best female-driven horror/comedies yet.

Sarah (Kate Bosworth) and Lou (Lake Bell) are headed off to an island getaway. Camping under the stars is the name of their game, but things get off to a rocky start when they meet at the dock to pick up estranged friend Abby (Aselton). Tension is immediate and Sarah guilts them into continuing with their adventure when she lies about having cancer. She may come clean about being cancer free eventually, but it worked to show Lou and Abby that the trio still cares more than enough about each other to head off into the wilderness where they used to spend their childhood and even have a time capsule buried out there somewhere, “Goonies” style.

As things reach a boiling point, Abby finally confronts Lou about an old indiscretion and, eventually, Lou apologizes, but not before she can be interrupted by the arrival of another trio consisting of men. One of the guys they actually all know from high school and now they’re stuck with no phone service on a deserted island with three dishonorably discharged self proclaimed “war heroes.” It’s only a matter of times before things take a turn for the worse as Abby accidentally kills one of the men in an act of self defense and his two buddies begin to go a little nuts. Soon enough, it’s a fight for survival as the three girls must let the past go and do everything they can to try to stay alive.

I mentioned “Club Dread” before as that film has a lot in common with this one. The old “Killer Who Will Not Die” scenario hasn’t been anywhere near this hilarious since the end of that Broken Lizard production. However, there are also splashes of the brilliant “Tucker & Dale,” and while this film may work mostly as a spoof take on the slasher-in-the-woods films, there’s far more than a dash of “Deliverance” and “The Descent” mingled throughout as well. Everyone seems to be having a blast both in front of and behind the camera and things never get too goofy to overpower the seriousness of the situation at hand. While I’m sure glad I wasn’t personally stranded on “Black Rock,” it was more than a nice getaway from the rest of fest.

Sundance 2012 Movie Review: “The End of Love”

Leave it to a two-year-old to steal the show.

Article first published as Sundance 2012 Movie Review: The End of Love on Blogcritics.

Sometimes when a director packs his film chock full of famous celebrity buddies it doesn’t always turn out for the best. While Adam Sandler is hands down the worst offender here, it works greatly in Judd Apatow’s favor. When you’re Mark Webber, and your film is making its debut on the U.S. Dramatic ballot at the Sundance Film Festival, having some friends to help you out isn’t such a bad thing. Especially when your friends consist of Michael Cera, Jason Ritter, Amanda Seyfried, Aubrey Plaza, and Alia Shawkat. It may be called “The End of Love,” but it’s doubtful this would ever mark the end of Webber’s career.

Writer/director Webber plays a fictionalized version of himself (along with the rest of the cast), who is an aspiring actor. He also doesn’t seem to have that great of luck in Hollywood. He lives in a spare room at his friend’s house on a mattress he shares with his two-year-old son, Isaac (Webber’s real life son). Being a single parent is hard enough, I’m sure it’s a whole other story when you have to tote your child along to auditions. They visit what at first Isaac calls a park with lots of flowers. He’s obviously too young to understand that they’re visiting a cemetery. Mark’s wife (in the film) has passed away and we’re not told why. Meanwhile, as Mark and Isaac are out running errands, they twice run into a beautiful mystery girl. When they eventually run into her at the playland she owns, he finally introduces himself to Lydia (Shannyn Sossamon).

After Mark finds out his car has been towed he asks Lydia if the two of them can have a ride home. After exchanging numbers, Mark and Isaac go to Lydia’s house for a playdate as she has a daughter of her own. While the kids may be getting along, things take a turn for the premature and Mark is out of there. When he receives a call from Cera that he’s having a celebrity filled game night at his house, Mark looks on Craigslist for a sitter for Isaac in hopes of finding some escape — if just for one night. When he tries to hook up at the party with an old friend, Jocelin (Jocelin Donahue), she learns he has a son and becomes uncomfortable. When he wakes up the next morning after passing out in Cera’s bed, he starts coming to terms with having to face the challenge of growing up and facing his wife’s death.

When your main co-star is your own two-year-old son, it could be either more difficult to make a feature film or easier. As Webber explained during the Q&A following the screening, it was a little of both. Using tactics such as shielded cameras, improvisation, and single takes, he manages to get amazing performances out of his son as well as himself. When you know you aren’t going to be getting another chance to get it right, it counts to make sure you do it right the first time. And if you think that the project could be seen as just a way to pass off home video footage as a feature film, this is far from “America’s Funniest Home Videos.” While Isaac’s naïveté helps make for some hilarious moments, he also manages to coerce a spectacular performance out of his dad, helping to make “The End of Love” so much more than just another throwaway passion project we see every year at the festival.

Photo courtesy Poor Rich Kids