The Middle of X (2018)

21 Friday Sep 2018

Tags

Benjamin King, Bre Blair, Colin Egglesfield, Comedy, Drama, Friends, High school reunion, Josh Cooke, Marital problems, Nicky Whelan, Peter Odiorne, Relationships, Review

D: Peter Odiorne / 82m

Cast: Bre Blair, Ronnie Gene Blevins, Josh Cooke, Colin Egglesfield, Jeremy Gabriel, Jason Gray-Stanford, Sammi Hanratty, Benjamin King, Chrisdine King, Tina Parker, Elizabeth Stillwell, Nicky Whelan

Having graduated from high school, Mack Prescott finds himself at odds with his future, or at least, what it may bring. Twenty-five years later, and on the eve of a high school reunion that he’s hosting at the home that used to belong to the parents of his wife (and high school sweetheart) Emily (Whelan), Mack (Egglesfield) is still ambivalent about his life and where it’s taking him. As many of his teenage friends, some of whom he hasn’t seen in years, begin to arrive, Mack discovers that he’s not the only one with problems. His best friend, Carter (King), drinks too much and has an unhappy marriage; Dick (Gray-Stanford) and his wife, Lydia (King), are struggling financially; and teenage sweethearts Casey (Cooke) and Sam (Blair) are hopeful of rekindling their old romance. Only Marty (Blevins), who suffered a terrible personal tragedy the night everyone was last together, appears to be happy, and then through sobriety. As the evening unfolds, Mack begins to realise what it is to be happy, and why Life has a knack for leading people to where they need to be…

Upon reading that synopsis, you could be forgiven for thinking, Uh-oh, not another movie about angsty middle-aged, middle class people wondering where it all went wrong from the safety of their palatial homes. And you would be right; this is exactly that kind of movie. Thankfully, writer/director Odiorne offers just enough of a spin on this well-worn set up to make The Middle of X an entertaining if resolutely lightweight examination of middle-aged ennui. The drama unfolds in fits and starts, and some of the various sub-plots surrounding Mack and Emily’s fractured marriage – he cheated on her so she did the same – don’t play out as well as others. There’s a sense that the running time has been dictated not so much by the length of the script but by a limited budget, and as a result, those same sub-plots feel truncated. A case in point is Marty, who is given a terrific introduction, and who is set up to be a major character. But once he arrives at the house, his story doesn’t go anywhere, and he’s used as a way of undermining another, minor character who’s quickly disposed of. It’s as if Odiorne had loads of great ideas but didn’t know what to do with them all.

He – and the movie – are much more successful with the comedic elements. There’s a sardonic streak of humour that runs throughout the material, from Carter’s commitment to continual boozing, to Dick’s desperate attempts at nabbing new clients to keep his job afloat. By pricking at the aspirational natures of his characters, Odiorne makes their unhappiness and perceived failures a source of mirth. It’s cruel in places, but much sharper than if we were witnessing their unhappiness as straight drama. This also allows for a clutch of enjoyable performances, with Benjamin King and Whelan on particularly impressive form, while the likes of Cooke, Blair and Blevins are good but don’t have the opportunity to flesh out their roles to better advantage. By the movie’s end, a major wrong has been remedied (if a little too easily), problems have been solved (if only for a while – or until the next reunion), and there’s a moment of shameless manipulation that could have been horribly mawkish but which succeeds thanks to the efforts of the actress involved. It’s moments such as these, though few and far between, that show what Odiorne could do with a bigger budget and a sharper script.

Rating: 6/10 – the material could have made more effort to skewer the pretensions of its self-absorbed characters, and a longer running time could have allowed for more satisfying resolutions to many of the sub-plots, but for a first-time outing as a writer/director, Odiorne acquits himself well enough; The Middle of X may not attract many viewers because of its generic sounding nature, but for those prepared to give it a try, there are enough rewards to make it worth their while.

The Intervention (2016)

18 Monday Jun 2018

Posted by dullwood68 in Movies

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Alia Shawkat, Ben Schwartz, Clea DuVall, Cobie Smulders, Comedy, Drama, Friends, Jason Ritter, Marital problems, Melanie Lynskey, Natasha Lyonne, Relationships, Review, Vincent Piazza

D: Clea DuVall / 89m

Cast: Clea DuVall, Melanie Lynskey, Natasha Lyonne, Vincent Piazza, Jason Ritter, Ben Schwartz, Alia Shawkat, Cobie Smulders

Annie and Matt (Lynskey, Ritter) are travelling to meet up with their friends, Sarah and Jessie (Lyonne, DuVall), Peter and Ruby (Piazza, Smulders), and Jessie’s brother, Jack (Schwartz), for a weekend get together. There is an ulterior motive for the get together: the rest are convinced that Peter and Ruby’s marriage is on the rocks and that an intervention is needed; they intend to suggest the couple divorce for both their sakes. When Jack arrives he brings a new girlfriend with him, Lola (Shawkat), but while this is initially regarded as inappropriate, it’s quickly forgotten with the arrival of Peter and Ruby. The couple bicker and squabble in front of their friends, and though Annie appears to the group’s prime mover, she fumbles a first attempt at confronting Peter and Ruby by getting drunk. Before another attempt can be made, divisions between the other couples are brought to the fore, partly because of Lola’s freewheeling sexuality, but also because of long-buried animosities. And things don’t improve when the intervention finally takes place, and Peter and Ruby react in ways that prove unexpected and which threaten the group’s friendship – perhaps irrevocably…

DuVall’s debut as a writer/director, The Intervention is a broadly optimistic, genial and amusing movie that works surprisingly well despite its largely conventional narrative and collection of characters. The basic premise plays out as you’d expect, adding fault lines in each relationship as the movie progresses, but thankfully not to the point where it looks as if each marriage/partnership needs their own intervention. Instead, DuVall does something that’s a little bit sneaky (maybe even underhanded): she pulls the rug out from under the viewer by revealing said fault lines but without wrapping them up neatly in a nice dramatic bow by the movie’s end. In doing this, she keeps the material fresher than it appears to be at first, and allows the main storyline and its various sub-plots to make much more of an impact than usual. Little betrayals and far from imagined slights have their place, but it’s the characters’ reactions to them – their bemused, uncomprehending reactions – that provide much of the enjoyment to be had from DuVall’s astute observations and the movie’s overall tone. If there’s one caveat, it’s that the drama is often underplayed in favour of the humour, but when it needs to, the script stings deliberately and painfully.

If DuVall’s first outing as a writer isn’t always successful – Lola is too obviously a catalyst for upset, the male characters aren’t as clearly defined as their female counterparts – as a director she’s on firmer ground, orchestrating matters with a great deal of confidence and precision in the way scenes are staged, and knowing when to focus on the appropriate dynamics relating to each couple. She’s aided by a terrific ensemble cast that’s headed by the always reliable Lynskey. As the commitment-phobic Annie, Lynskey invests her character with a pliable sense of responsibility and a survivor’s ignorance of individual culpability. It’s yet another performance that reinforces the fact that she’s one of the best actresses working today. Almost matching her (it’s really close) is Smulders, her portayal of Ruby as melancholy and subdued as you’d suspect in a woman whose marriage is visibly imploding (Smulders broke her leg shortly before shooting began; rather than re-cast, DuVall wrote it into the script). The rest of the cast enter into the spirit of things with gusto, and thanks to DuVall’s actor friendly approach, it’s the performances that prove to be the movie’s main attraction.

Rating: 7/10 – uneven in places, but with a sincerity and a sharpness to the material that keeps it (mostly) fresh and appealing, The Intervention is rewarding in an undemanding yet enjoyable way; bolstered by a raft of good performances, it’s unpretentious stuff that doesn’t outstay its welcome, and which knows not to resolve all its characters’ problems.

Thoroughbreds (2017)

25 Friday May 2018

Posted by dullwood68 in Movies

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Anton Yelchin, Anya Taylor-Joy, Black comedy, Cory Finley, Drama, Friends, Murder, Olivia Cooke, Review, Stepfather, Thriller

D: Cory Finley / 92m

Cast: Olivia Cooke, Anya Taylor-Joy, Anton Yelchin, Paul Sparks, Francie Swift, Kaili Vernoff

Amanda (Cooke) and Lily (Taylor-Joy) were once the best of friends, but circumstances affecting both their lives have caused them to drift apart. But those same circumstances now see them brought together again as Lily provides tutoring to Amanda, and they begin to re-establish their friendship. Amanda is emotionally crippled, while Lily is quite the opposite, and feels too much. When Amanda realises that Lily despises her stepfather, Mark (Sparks), it’s not long before she’s asking why Lily doesn’t murder him. Shocked at first, Lily begins to come around to the idea when her mother (Swift) tells her that she’s being sent to a boarding school for children with behavioural issues. Needing an alibi, they enlist the help of convicted felon, Tim (Yelchin), a hapless would-be drug dealer. With their plan set up for a weekend when both will be away, it’s down to Tim to carry out the crime, but things go awry and Mark remains very much alive. The plan, though, undergoes something of a change, one that sees Lily take charge by herself in an effort to resolve the situation once and for all…

A deliciously bittersweet, and biting, black comedy, Thoroughbreds is the debut feature of writer-director Cory Finley, and is as confident and assured a debut as you could hope for. Originally conceived of as a play, Finley’s exploration of two teenagers and their emotional differences, and the path both find themselves intent upon pursuing, is a striking and beautifully composed ode to teenage disaffection (and purposeful affectation). Amanda and Lily’s relationship provides challenges to both young women in terms of their emotional growth, and Finley provides an object lesson in how to create and develop two separate characters whose own individual needs quietly and inevitably dovetail until both are able to express those elements each other have been lacking. Amanda learns how to empathise, and Lily learns how to rationalise. These things make both of them stronger, and part of the pleasure of Finley’s finely judged screenplay is the way in which Amanda learns how to bond while Lily learns how to be alone. Throughout the movie, the tense dynamic established between them never quite settles comfortably into a groove that allows the viewer to predict what will happen next, and Finley manipulates the material accordingly.

It’s a movie that contains many examples of black comedy, and darkly satirical thriller elements that often subvert the modern day noir feel that Finley ascribes to the narrative. The glossy yet all too orderly environment of Lily’s home provides a trenchant backdrop for the largely muted passions on display, and Finley’s careful but invigorating direction ensures the movie is as visually arresting as it is emotionally powerful. As the murderous-minded Amanda and Lily, Cooke and Taylor-Joy both give excellent performances, while Yelchin (in one of his last roles), is marvellous as Tim, a man with dreams that aren’t matched by his ability or skill to see them through. It’s also worth noting Sparks’ performance as Mark, the ostensible bad guy who wears a frown on his face like a damaging accusation; it’s a tightly controlled portrayal, and all the more effective for not being the stereotype it so easily could have been. On the technical side, there’s much else to recommend the movie, from Lyle Vincent’s crisp, artfully composed cinematography, to Jeremy Woodward’s austere yet evocative production design, and Erik Friedlander’s memorably haunting score. With a sharp, calculating nature bubbling just below the surface, Thoroughbreds is a welcome addition to the usually underwhelming teen angst movies we normally get, and is all the better for managing to avoid the genre’s many pitfalls.

Rating: 8/10 – a movie that creates a precise and prescribed milieu on which to hang its tale of what happens when stifled emotions meet murderous ambition, Thoroughbreds is a genuine surprise, and a bona fide pleasure as well; with terrific performances wringing every possible nuance from his razor sharp screenplay, Finley’s debut highlights the arrival (hopefully) of someone with a great career ahead of them.

Perfect Strangers (2016)

08 Friday Jul 2016

Posted by dullwood68 in Movies

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Affairs, Alba Rohrwacher, Anna Foglietta, Comedy, Dinner party, Drama, Edoardo Leo, Friends, Giuseppe Battiston, Kasia Smutniak, Marco Giallini, Mobile phones, Paolo Genovese, Relationships, Review, Secrets, Texts, Valerio Mastandrea

Original title: Perfetti sconosciuti

D: Paolo Genovese / 96m

Cast: Giuseppe Battiston, Anna Foglietta, Marco Giallini, Edoardo Leo, Valerio Mastandrea, Alba Rohrwacher, Kasia Smutniak, Benedetta Porcaroli

Seven friends gather together for a dinner party, held at the home of cosmetic surgeon Rocco (Giallini) and his wife, therapist Eva (Smutniak). Joining them are newlyweds Cosimo (Leo) and Bianca (Rohrwacher), who have decided to try for a baby; distant married couple Lele (Mastandrea) and Carlotta (Foglietta); and single friend Peppe (Battiston), who should be bringing his new girlfriend for everyone to meet, but who turns up alone as she’s fallen ill. Before the dinner party gets under way, we’re treated to telling glimpses of the three couples’ relationships, and in particular, the fractious way in which Rocco and Eva deal with their daughter, Sofia (Porcaroli).

With an eclipse of the sun due to occur that evening, the friends muse on that and various other topics before a phone call to one of them raises the question of whether or not any of them know each other as well as they think. With the call used as an instigator, Eva suggests they all play a game: each has to place their mobile phone on the table and if they receive a phone call during the evening they have to let everyone else hear what the caller is saying, or if they receive a text or e-mail they have to read it out and show someone else to prove what they’re saying is correct. Rocco isn’t too keen to play the game but he’s in the minority, and so he goes along with it. Eva is keen to see if anyone has any secrets they want to hide, but everyone denies the likelihood that she’ll be proven right.

As the evening progresses, certain calls and texts lead to certain revelations: that at least three of the friends are having affairs, one is on the verge of doing so, two are living a lie, and one has been betrayed from the very beginning of their relationship with their partner. Emotions run high, accusations are made, confrontations are endured, and relationships are smashed apart with only the barest possibility of reconciliations occurring in the future. And still more secrets go unrevealed…

Before the invention of the telephone, the letter was the pre-eminent way for lovers, especially those conducting their affairs under cover of secrecy, to communicate their feelings for each other (when they weren’t able to snatch some time together). The telephone made communication easier and more immediate – no more waiting for a letter that might be intercepted or not even arrive – but with the explosion in telecommunications over the last twenty years it’s become easier to conduct our secret affairs in private, and to keep our unwitting partners in the dark, our misdeeds hidden behind a barrage of passcodes and biometric security.

Against this, it’s hard to imagine anyone agreeing to reveal the nature of the calls and messages they receive on their mobile phones, especially if their partners are there with them at the time, so Rocco’s objection seems correct. Like everyone else he has a secret, but in relation to subsequent revelations it’s on the trivial side (though it does speak volumes for the state of his relationship with Eva). But because everyone else, despite some minor objections, agrees to go along with Eva’s “game”, Perfect Strangers avoids discussing either our over-reliance on modern technology, or the ways in which it can allow us to lead hidden, secretive lives. Instead, and after a suitably languorous period where suspicions go unraised and calls/texts are easily explained away, the movie starts to unravel the lives of its characters and the façades they adopt in everyday life. As the poster puts it, each of us has three lives: a public one, a private one, and a secret one.

Once these façades are exposed for what they are – the masks we wear to prove that our deceit is necessary and/or acceptable, at least to ourselves – the script by director Genovese, Filippo Bologna, Paolo Costella, Paola Mammini and Rolando Ravello piles on the anguish and the shame and does its best to up the ante with each new secret that’s revealed. With some of the secrets proving inter-connected, and in ways that stretch the narrative’s carefully established plausibility – these are friends you can believe have known each other for years, and are comfortable with each other – the movie becomes overheated, its characters behaving as if the betrayals they’ve discovered are worse than any betrayal they’ve committed themselves. There’s a stark, angry moment when the provenance of a pair of earrings reveals an unexpected connection between two of the characters; it’s a brief scene that arrives out of the blue and is all the better for it. Otherwise, the script opts for extended, unlikely conversations that feel too articulate for the emotions everyone’s supposed to be feeling.

That said, this is the type of movie that feels as if it could have been adapted from a stage play (or could be adapted into one). Rocco and Eva’s apartment, an assortment of rooms dominated not by the dining room (which always feels cramped, adding to the notion of a pressure cooker environment) but by their vast kitchen, is the kind of set where a camera can prowl around characters with impunity and a keen eye for deceitful behaviour or motivations. Genovese frames his characters carefully, always showing the emotional distance between them (as well as the physical distance) while they’re at the dinner table, and the further distance they put between themselves when they’re away from it. As the movie progresses, and small rifts of insecurity become gaping chasms of duplicity, it reinforces the idea that we never really know anyone, even someone we live with or have known for a long time.

At the movie’s end, and with the guests departing in various degrees of haste, Genovese and his co-screenwriters throw audiences a curveball that allows for a different, perhaps more mournful ending than expected. It’s awkwardly done, and as curveballs go, isn’t signposted too well; some audiences may be confused by what they’re seeing, but in relation to what’s happened throughout the evening it does allow the individual viewer to make their own mind up as to whether or not “honesty is the best policy”.

The cast all get their moments to shine, with Battiston delivering Peppe’s verdict on his friends’ behaviour with a sad resignation that’s entirely appropriate. Foglietta is on fine form as the wife who yearns for something more from her marriage but can’t find the wherewithal to find it and keep it, and Rohrwacher gives a touching performance as Bianca, the naïve young newcomer to the group whose aspirations as a wife and willing friend are cruelly dashed. Mastandrea has the most difficult role, but thanks to some poorly crafted dialogue, isn’t allowed to make Lele’s secret as affecting or believable as it needs to be. Genovese directs them all with aplomb, allowing each character to grow and develop, but again there are too many moments where, in the wake of a revelation, the movie struggles to maintain momentum thanks to the recurring decision to have a character express their feelings at length, and with too much hesitation.

Rating: 7/10 – a fascinating, though contrived drama, Perfect Strangers takes a dinner party game and uses it as a way of exposing the deceptions and dishonesty that can lie at the heart of modern relationships; too astute for its own good at times, the movie is occasionally uncomfortable to watch, but it features a wealth of good performances, some effective and unexpectedly poignant moments, and doesn’t – not once – allow the audience to feel superior to any of its characters.

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That Awkward Moment (2014)

01 Saturday Mar 2014

Posted by dullwood68 in Movies

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Bromance, Commitment, Dating, Friends, Imogen Poots, Marriage, Michael B. Jordan, Miles Teller, Relationships, Review, Romance, Tom Gormican, Zac Efron

D: Tom Gormican / 92m

Cast: Zac Efron, Miles Teller, Michael B. Jordan, Imogen Poots, Mackenzie Davis, Jessica Lucas, Addison Timlin, Josh Pais

With the rom-com feeling like it’s hit a bit of a rut at the moment, this male-centric offering from first-time writer/director Gormican seems – at first glance – to offer something a little bit different.

When Mikey (Jordan) tells his friends Jason (Efron) and Daniel (Teller) that his wife, Vera (Lucas) wants a divorce, it prompts them to make a pact: to avoid serious, long-term relationships and revisit their younger days when they partied and flirted and drifted from woman to woman. For Jason and Daniel this isn’t so difficult as this is what they’re already doing; for Mikey it proves a little bit harder as he still wants to rescue his marriage.

Jason meets Ellie (Poots) at a bar and they go back to her place. A misunderstanding sees him leave before she wakes the next morning, but already he’s smitten. When they meet again where he works as a book jacket designer (in tandem with Daniel), they resume their fledgling relationship, and begin spending more time together. Daniel, who uses his friend Chelsea (Davis) to pick up girls, finds himself becoming attracted to her; their friendship evolves into their becoming lovers themselves. With Mikey rekindling his marriage to Vera, all three men find themselves reneging on the pact they made. Afraid of ruining their own relationships, the men find themselves struggling to admit their feelings for the women in their lives, both to themselves and to each other.

That Awkward Moment is, at heart, more of a bromance than a romantic comedy, with the relationship between Jason, Daniel and Mikey taking centre stage. With this in mind it’s easy to dismiss the movie as a “guys-can-be-jerks-but-deep-down-they’re-really-sensitive” modern-day fairy tale. They’re all good guys and they have an obviously close bond but they can’t seem to relate that well to women, until they meet the right ones (or in Mikey’s case, fail to call her back). There’s the usual missteps and misunderstandings along the way, a couple of minor emotional upheavals, and the sight of Efron and Teller both attempting to pee while dealing with the effects of Viagra. The humour is generally low-key (there are few laugh-out-loud moments), and some scenes are entertaining in an offbeat way, but the way in which the guys lie and deceive each other is wearing and uninspired. It’s this haphazard approach that keeps the movie from being as insightful as it would like to be, and as original as it thinks it is.

Of the male leads, Teller (recently revealed to be the new Reed Richards in the Fantastic Four reboot) fares best, his rapid fire delivery and caustic put-downs infused with a nervous energy that suits his often dismissive character. Jordan is required to look either bemused or credulous a lot, and while his character is the most likeable of the three, he gets less screen time. It’s Efron, though, who gets a bit of a raw deal. Jason is, to put it bluntly, a bit of a prick. He’s a commitment-phobe who balks when the women he’s seeing start to ask where their relationship is going (the awkward moment of the title), and he badly disappoints Ellie at a time when she really needs him. He views being “serious” as something to be avoided, even when he is clearly falling in love; why he’s so repressed in this area is never satisfactorily explored or explained. As a consequence, Efron is hard-pressed to make Jason sympathetic; he just makes too many easily avoided mistakes.

As the slightly kooky Ellie, Poots cements her rising star status, while Davis’s confident turn should ensure her career gains momentum, but Lucas is saddled with a one-note character who is never developed in a way that would make her interesting. The script is at fault here, and it’s this lack of attention to some of the characters that stops the movie from breaking out of its own shell. That aside, there are some good moments – Jason attending a party and misunderstanding the dress code, Daniel and Chelsea’s friendship evolving into something more serious – but there aren’t enough of them to make up for the shortage elsewhere.

Under Gormican’s direction, That Awkward Moment ambles through its running time, neither pleasing its audience entirely or taking too many risks. The material wears thin too soon, and there’s not enough depth to make the interplay between the couples anything less than perfunctory. There’s the germ of a good idea here, but Gormican can’t quite get it to flower.

Rating: 5/10 – below par bromantic comedy that never takes off or seems to want to; a patchy script means a patchy movie and a severely weakened premise.

Scenic Route (2013)

30 Wednesday Oct 2013

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Dan Fogler, Death Valley, Drama, Friends, Josh Duhamel, Kevin Goetz, Michael Goetz, Review, Road trip, Stranded, Thriller

aka Wrecked

D: Kevin Goetz, Michael Goetz / 87m

Cast: Josh Duhamel, Dan Fogler, Christie Burson, Miracle Laurie

When two friends, Mitchell (Duhamel) and Carter (Fogler), take a road trip together and the truck they’re in breaks down, the stage is set for a tense battle of wills – first against each other, and then against the elements as they fight to survive being stranded in the desert.

Taking the basic premise that these two long-time friends are both failing in their lives and their ambitions, and are equally embittered, Scenic Route wastes no time in peeling back the layers of each character and showing them for the disillusioned, desperate people they are. Mitchell is trapped in a marriage he feels obliged to continue with, while Carter is homeless and failing to get his writing career off the ground. Both men are unable to break the chains they have wrapped around themselves. As they argue and fight over their respective failures – each summing up the other’s deficiencies – their arguments spiral out of control and become violent. To make matters worse, the stretch of road they’re on is miles from anywhere, and there’s almost no traffic.

On the whole, Scenic Route is a tense, involving movie that fares better than perhaps it should. Kyle Killen’s script is punctuated by the kind of smart one-liners that nobody in this kind of situation would come up with – the two men’s initial exchanges are needlessly verbose – and one or two plot developments (which I won’t spoil here) smack of convenience rather than organic advancement. What saves the day is the committed performances of Duhamel and Fogler. Duhamel gets an extreme makeover that looks odd at first but then really suits his character, while Fogler displays a depth and range that hasn’t been evident from his comic performances. This is a tough, physical movie (shot in Death Valley) and neither actor outshines the other, making this a movie about two men who begin as equals, struggle to maintain that equality and then who learn how to survive by fighting for each other.

Aside from the 1998 short Mass Transit, Kevin and Michael Goetz haven’t directed a movie before, and while this is their first feature, they keep things tightly focused on the truck and its immediate environs, placing an emphasis on keeping Mitchell and Carter in close relation to the vehicle. Even when they move away from the truck the frame remains obstinately restricted in its point of view. There are some long shots but these serve only to highlight how isolated and alone the two men are. The photography by Sean O’Dea emphasises the rugged natural beauty of the surroundings, while editor Kindra Marra ensures each scene is played out to maximum effect, including the extended coda that tries to take the movie into another territory altogether.

The movie does have its faults. Some, as mentioned above, are due to the script and hinge largely on the dialogue. Developments in the plot detract from the straightforward telling of the story – a flashback proves unnecessary and distracting – and the likelihood of the final outcome will always be in doubt. The two men also seem to get by without any food or water for over three days. How much these things will detract from a viewer’s enjoyment of the movie, though, will be down to the individual.

Rating: 7/10 – a modest suspenser/drama that plays well throughout and is bolstered by two above average performances; not as clever as it would like to be, perhaps, but still worth a look.