Indie Film Review “Carlton Taylor Has Major Problems” An off-kilter dramedy that paves an idiosyncratic path towards inward and outward reconciliation
WATCH THE TRAILER BELOW:
First, the Recap:
Striding t0 see an uncompromising, committed, unswerving vision burst into life. It’s an ultimate goal for so many of us who just might dare to dream while also standing firmly on what we believe in. This often comes about when there is an impending, or now-present, reality that threatens to undermine all we’ve worked hard for, and that which we feel needs to remain as is. Yet, progress remains the cruel taskmaster. We can either let it defeat us, or instead choose to discover the elusive, but not impossible, road to see it achieved in a constructive, fulfilling way.
To say the least, McCain Mounting Publishing veteran Carlton Taylor (Thomas Ryan Ward) is currently having a less than stellar day. While having had long-standing success at doing what he loves and more than tries to defend against new media, a tragic past haunts him to debilitating degrees. When a massive change alters all he’s known, things seem hopeless. But, when a figure (Grayson Berry) from his childhood unexpectedly emerges, the road to personal redemption takes on rather….quirky….twists and turns!
Next, my Mind:
A clever, humorous play on words for a title and a biting but entertaining style of dark humor intermixes with some surprisingly heartfelt drama plus an ultimately impactful, positive, and compellingly inspired message about never giving up on fighting for the ideals you hold most dear (even with JUST a few radical bumps along the way!) and the dreams you want to see come to fruition, thanks to this new 90-minute indie feature film from writer/director/producer/editor Thomas Ryan Ward and producer/executive producer Grayson Berry along with producers Carly Christopher and Theron LaFountain with additional support from executive producers Dennis Chavis, Greg Kohls, Scott Lewis, and Robert Benjamin. It is proof positive of just how independent cinema can take something that is conspicuously eccentric and unconventional but then effectively and adeptly end up centered on life lessons we can ALL learn from.
Immersing us in a narrative that sees a down-on-his-luck, unsettled, yet stalwart man having to encounter, handle, and then overcome the ghosts of tragedy from his past while also facing the seeming inevitability of how contemporary times will upend all he’s worked for in his career through decidedly atypical, even freakish, yet strangely cathartic means, the film moves along with a frenetic but controlled pacing that suits events perfectly, giving you enough development of characters but not allowing them to become “talking heads” nor get remotely too “cerebral” for its own good. Truthfully, it’s flat out silly (again albeit more darkly-tinged) comedy for the most part. However, what at least elevated the film a touch for this critic was the aforementioned hints at the fact there is sincere dramatic soul which emerges from the insanity in a manner that does very much touch the heart with grander messaging that’s pertinent and apropos to all we witness.
I mean, how totally serious can we get when dealing with the fantastical imagination of childhood and a means of exploring the past that heralds back to the phone booth concept of “Bill & Ted’s” time-warping journeys? But, once more, that IS the magic of the film’s ability to surround us with nuttiness yet yield core themes of releasing inner hurt and experiencing the healing that comes from it. With other thematic forays that encompass the hiding of truths, manipulating history, loss of media integrity, new paradigms in business being embraced by younger generations while making others feel left behind in “old school” ways, the reality of change, what we sacrifice for progress, innovation vs. quality and facts, discovering the willingness to fight for what we want, the crippling damage of addiction, addressing our own cynicism, and the fear of becoming obsolete all find their way into the proceedings with excellent potency.
The finale is one that COULD be construed as “expected”, yet I say it actually turned into an unforeseen bout with heartening, persuasive, and necessary gravitas that admittedly gripped my emotions in a fashion I certainly didn’t see coming. Ward, who once more steps out from behind the camera (ie: just as he did with 2024″s “Vortex: A Film Anthology“), this time gets a more up front role via playing the title character, Carlton Taylor. A man on the edge after he already must deal with his own tragic past on top of seeing the job he has treasured for so long getting swept away by the specter of modernization, (supposed) improvement, and digitally-focusedprogress, Carlton isn’t happy or hopeful at all. But, when this dilemma takes a definitively offbeat and downright odd turn, it could shine the light upon all he is really needing to let go of while realizing a newfound invigoration to NOT allow change to steal away all he’s worked for.
Ward delivers a performance that is grounded, entertaining, and authentic in its purpose to display the trials and triumphs of a man simply wanting to remain relevant while becoming free of a past anchor that has understandably been a bane to his self-image and conscious. There’s an undeniable relatability to the battles the character faces, and Ward sells us on that throughout. Primary supporting roles arrive first from Raffaele Marchetta as Spencer, one of Carlton’s longstanding friends whose loyalty and concern for his friend’s plight may hold more to it than it appears. Maria Tornberg is Tina, the executive editor at the publishing house and another friend to Carlton who also may be more at the mercy of the company’s new directions than she wishes to be, for her own good and for his. Mason Tiden is Hiroto, the new and highly energetic head of the McCain Mountain Publishing who wants to bring the digital age to life, much to Carlton’s dismay but perhaps who also holds his own as of yet undisclosed reservations about the goals and approaches he is initiating.
Theron LaFountain plays company head of security Simon, yet another individual with all good intentions who simply wants to do his job to the best of his ability. Carly Christopher is Annabelle, Carlton’s mother whom we see primarily in flashbacks and who has a key influence and impact on his life. Grayson Berry is Major, one of the key players in Carlton’s road to liberation and who has a rather unique tie to Carlton’s past. Bob Senkewicz is Archie, the McCain Mountain’s founder whom Carlton idolizes and might still get some guidance from. Additional supporting appearances are made by Dani Richards, Arthur Gregory Pugh, Damien S. Berger, Andy Dispensa, Dennis Chavis, Dwayne Standridge, Nick Ferraro, Emily Mangiavillano, Artur Mullakandov, Jeffrey P. Thornton, Jessi Clayton, Tifanie Sbriscia, Landon Chavis, Ally Ross, Terry Benjamin, Sadie Doyle, and a host of others. To you all, truly, I say “Well done!!”
So, in total, “Carlton Taylor Has A Major Problem” is solidly executed, playfully amusing, unpredictably heartening, and flat out, good old fashioned, off-the-wall indie film FUN that doesn’t pretend to be anything else than what it is, yet manages to convey an ultimate declaration about life’s struggles that everyone can take something from and find applicability for.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
