WATCH THE TRAILER HERE
First, the Recap:
There is something to be said for perseverance. If having encountered nothing but what appear to be, or were rather conspicuously, obstacles that hinder the goals we strive for, being able to overcome them and find a path to success is hard, but admirable. Yet, what if the situation we’re immersed within doesn’t exactly allow for even the BEST of efforts and intentions come to pass regardless of HOW hard we try?? In the wake of what has culminated in endless disaster of just MAKING a project happen, beleaguered comedic filmmaker Cherie (Cherie Kerr) is coming out of the–incidents–associated with the Matricher Falls IFF, joining up with a decidedly shady distribution company as a last ditch effort to see her film get SOME kind of favor. But, when things go south (quickly!), it’s once more up to her, Maynard (Matt Morrison) and Mitch (Rich Flin) to find a way out—maybe??
Next, my Mind:
Overt industry mayhem, dastardly deals, unprincipled minors, a familiar band of stalwart (albeit STILL dysfunctional!) actors, their intrepid leader, and the unequivocally satiric bite calling OUT “The Biz” we’ve come to expect collide anew in an engaging cacophony of comedic silliness via this third installment of the “Matricher Falls” indie film series from writer/director/executive producer Cherie Kerr along with executive producer Eric Anderson, putting an all-too-fitting end to the events depicted in the previous two films with an emphatically decisive, witty finality that more than befits the series’ grand purpose. For this critic, what I’ve so deeply enjoyed about the efforts is that they so deftly combine complete absurdity and wholehearted entertainment with what has honestly continued to consistently be that aforementioned jab AT the film industry, its challenges, its serious issues, its underhanded practices, and the need for CHANGE I felt it all has represented…WHILE making us LAUGH at it with the intelligently crafted writing and direction Kerr & Co. have delivered in each and every project involved here.
Having navigated us initially though the toils and troubles of getting a film created then, when accomplished (by sheer miracle!), marketed to film festivals, the new narrative sees the crew’s ultimate matriarch having to try (futilely mostly!) to dig herself out of a fresh conundrum born out of wanting their film to be distributed, running afoul of unscrupulous executives at an utterly dubious distribution company, and subsequently dragging many of her nearest and dearest back into the fray, with the outcome (expectedly!) an unfolding nightmare. Just like its predecessors, the film’s pacing is brisk and to the point, offering the comedic elements with delightfully, intentionally, and hilariously acerbic delivery that keeps you engaged while still making it this cautionary tale of what it still means to strive for true success in the film business when surrounded by so much that works AGAINST you for than FOR you. BUT, the portrait of perseverance that the story overall has portrayed IS inspiring–even when the finale presented here arrives and puts that totally apropos (but still so deftly hysterical) nightcap on the character’s journeys.
While we see the shadows of past thematic explorations revisited encompassing the cost of poor choices, frazzled nerves, creative differences, crew issues, and total meltdowns, this film now opens up a whole new batch of facets to place on the screen contained within the context of film distribution and what it is to try selling that to other people WHILE looking for it yourself, much less then getting involved with a lemonade cartel and relying on deceptive practices to try to make ends meet. Devious execs, empty promises, shaming, being severely overworked, prison “life”, the nonsense of film themes that are out there trying for legitimacy, acronyms, influencers, campaigning, being trapped in a statistics-driven arena, manipulation of your own friends to gain funding, NDA’s and bureaucratic paperwork, language barriers, misappropriation of funds, leadership aiming to protect themselves while those below become potential scapegoats/fall guys, rationalization/justification of actions done FOR “success”, on top of an onslaught of gravy puns and references plus general CHAOS, it’s all here, all a total riot, and simply drives home the fact that all that glitters TRULY isn’t gold!!
Pulling from her own ongoing exposure and success amidst the real life actualities of Hollywood and the pursuit of (gained!) achievement, Kerr is again a portrait of controlled energy, intelligent wit, unflinching boldness, and testament to never-ending dedication through her role as Cherie, a weary, frustrated, on-the-edge, yet unfaltering filmmaker who’s only ever had the wish to finish a film, have it excel in festivals, and then, here, longing for it to be distributed. But, as her previous experiences have shown here, actually SEEING this all happen has been a less than smooth adventure, culminating in now being forced to work for a scheming distro company that has anything but HER best interests in mind. Caught in a web of their lies and desperation to validate her own endeavors, Cheri calls on old friends to help bail her out, even as in doing so, immerses them into the same degrees of behavior and decisions that could backfire on them all–or gain them the glory they seek. How it all WILL turn out, as always, is suspect, but watching Kerr once more navigate her character through the melee is so smartly fun, farcically charming, and earnest.
The ensemble supporting cast makes their equally uproarious return with a vengeance, adding the magnitude of jocular insanity, deadpan and physical delivery, and undeniably endearing air to the film we’ve come to expect from this series. Morrison and Flin are conspicuously and purposefully their usual crazy selves as Maynard and Mitch, Cherie’s ever-loyal partners in crime who’ve both ended up in the klink for their acts as seen in the second film. Now out and wanting to assist Cherie, they bring that anticipated goofiness and over-the-top devotion to her, and both Morrison and Flin just have such wonderfully acute sense of timing with the humor they bring, a credit to the actor’s talents and the importance their characters bring to the continuity of the shared misdeeds depicted, eliciting the smiles and guffaws we want as the viewer in wondering what OTHER mischief the duo can manifest when already in the middle of disarray personified.
Robin E. Fitzgerald, Liz Borden, Rusty Felbob, Tania Nelson, Robbie Nelson, Dan Charles Lee, and Mario Alverson are likewise back in full-on frivolity and silliness as Cassie, Mabel, Russell, Roxanne, Bob, Ding-Dawg, and Lucky, Cherie’s intrepid group of actors who must take on new roles as salespeople/officers of the underhanded distro company the group is now a part of thanks to Cherie’s plight. Each of the actors bring their best in personality and often clownish hilarity to the respective roles they’ve now embodied for three films, and it’s the beauty of witnessing their well-ingrained chemistry that makes them so worth watching and chortling at. It speaks to how much enjoyment this cast has had making the films, and for me, it shows here. Brent White is reporter Todd Tilliman who’s still wanting to “out” the group and catch them in the criminality he fully believes they’re involved in now more than ever. Don Wilen is Morty, the group’s new accountant who doesn’t waste much time exposing the fact the entire financial outlook for the crew is, well, BAD. VERY BAD.
Weston Bagley is Lester, quite an–irreverantly–precocious kid who heads up a local youth involved in illegal (but in a totally ridiculous way!) businesses and whom Cherie and the group try to establish a partnership with! Kai Kim is Godfrey, Lester’s right hand brains of the mob-like LMA (again, a complete stitch!). H. Nelson Tracey and Fadi Abu-Awwad appear as Sheldon and Abe, the “owners” of the distro company Cherie gets in bed with and whom astutely prove you don’t trust anyone like them! Dave Anderson is back as former Mayor Rodansky of Matricher Falls who now heads up other–things–that don’t do anything to improve his already tarnished image. Roy Jafari and Dustin Saiidi are Prince’s Mullah and Dullah, two possible foreign investors in the distro company and who might just be as fraudulent as everyone else in the picture. Additional appearances are made by Juliette Bagley, David Medrano, Ryan Peeler, Valerie Dixon, Jesse Bagley, Ash Pedersen, Christopher Kim, Darrell Wagstaff, Duane Sincerbox, Tommy Pedersen, Maxwell Fay, Charlotte Bagley, Lily Nelson, and Guy Nelson.
ALL, and I do mean this, performed their roles perfectly and were integral to the grander narrative we see here. As I often do with ensemble casts, I extent my heartfelt “BRAVO!!” to you all for your turns in this film! You all delivered the necessary laughs that made each of your characters memorable. So, in total, “It’s The Gravy” ladles up an impeccably rollicking, light-heartedly entertaining, unequivocally fitting climax to the “Matricher Falls” trilogy, coming full circle in its objectives to humorously yet with compelling persuasiveness showcase “The Biz” via exposing its pitfalls with the pratfalls mistakes in judgement can create while allowing us to realize that, in grander scope, HARD WORK is what it takes to succeed. OH! HEY!! Somebody STOP that judge!!! Watch the film, folks, watch the film.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
