Jim Hosking’s film is one of those absurdist boutique comedies that pushes against the definition of a punchline.
Throughout, the narrative padding is conspicuous, and the copious references to better films are gratuitous, even lazy.
Director Will Raee’s film takes its cue from the Toddlers & Tiaras school of reality TV child exploitation.
Each of Table 19‘s faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.
Chad Hartigan’s film is especially perceptive about the effect of external influence on personal development.
Josh Heald’s script takes the easy way out, ending the film with a torrent of slapdash sentimentality.
As if taking a cue from its own title, the movie emphatically sets its sights on the upward trajectory of Brown’s career.
It’s disheartening that, despite some half-hearted overtures toward shifting the comedy paradigm, the filmmakers make little attempt to expand their comedic palette.
Its views on organized religion are so halfhearted and perfunctory as to make Kevin Smith’s Dogma seem like a veritable master’s class in theistic studies.
Tina Gordon Chism’s film collapses into a series of clumsy improvisatory sketches, tied up in cheap, risibly sentimental catharsis.