WATCH THE TRAILER BELOW:
First, the Recap:
“It’s the end of the world!!!” How many ways, or times, have we been privy to such a declaration? While most of us might be willing to equate this with either films, TV, or overtly religious sensationalizing, it never fails when something in the world causes an abrupt and radical shift in the norm, especially when it IS potentially dangerous to EVERYONE. The ensuing panic arises, and rationality goes out the window. Hence, HOW do we actually end up dealing WITH it while looking for the answers to get THROUGH it?
In a strangely familiar, recent time, a worldwide pandemic–let’s call it the Nix virus–has become reality. As the spread of it seems unstoppable and lockdowns are now in place, the lives of Dr. Edward Bellows (Sean Kenney), couple Matt (Gilles Stricher) and Cathy (Bailey Sorrel), college roomies Britt (Catherine LaSalle) and Marnie (Lilly Ivring), and a plethora of others now must confront the actuality of being isolated and uncertain as the virus’ impact on the world becomes quite–horrific. Is there a cure? Or is it the apocalypse??
Next, my Mind:
Fantastically, scathingly, yet playfully farcical, undeniably relevant to our current world’s cultural and societal status, plus simply one hundred percent entertaining, this 94-minute indie feature film from director/producer Russ Emanuel, writer/cinematographer/editor Emile Haris, producers Mark Brenes, Charles Mesa, and Angela Joseph, co-producers Kelli Maroney, Janeen Berryman, Dave K. Bise, Timothy Lee Conley, Alice McCawley, and Chris McCawley along with executive producers Bill Victor Arucan, John Harlan Brady, Q Fortier, Hans Hernke, Jenny Ho, Eric Kask, Drew Martyn, Glenn McCawley, Dyanne Mercante, Michael Morrell, Ed Mower, Kyosuke Mukai, Oscar Pereida, Suda Suebsang, Justin Terry-Smith, and Michelle Wells carries it’s satire firmly on its sleeve, adding an honestly clever horror twist to the events that allows the film to be one of the first delving into this particular core subject that I’ve seen take the humorous road.
While another film addressing the trials of 2020, aptly titled “Anno 2020” (reviewed here), took a worldwide look at the pandemic from a far more serious angle, the narrative here instead chooses to lighten the mood for once, creating a jocular atmosphere about it all while following the unsettled state of being for six core individuals who attempt to make sense of the lockdowns and the virus’ ongoing blight upon humanity while only wishing for things to return to the usual. Now, as hinted at above, what first made this film stand out for me was the absolutely apropos but intentionally over-the-top, horror-infused depiction of the virus’ symptoms once it infects someone, made to visualize how you FELT when under the malady’s influence. Mind you, I feel safe in stating this is NOT anything meant to poke fun at the REAL and unfortunate results for some who contracted COVID-19 (here, “Nix”) and lost their lives, but rather the grander experience of having ANY sickness that upends your daily life and just makes you feel like a–well, watch the film!
The exaggerated nature and utilization of this highly recognizable, genre-defining horror trope lends itself extremely well to the narrative’s course, and is only one of a kaleidoscope of witty explorations presented over the runtime of the film. Frankly, there really aren’t too many facets of lockdown that DON’T get some form of often hysterical, or at minimum chuckle-inducing, exhibition. As such, the thematic forays conveyed are almost innumerable, covering conspiracy theories, the isolation/separation/loneliness present, how it caused us to pause and recollect about things and what’s most important, stabs at branding, advertisements offering “cures”, restricted gatherings in spite of “the rules”, overreactions to it all, hoarding, profiteering, work from home, wearing vs. not wearing masks, overcrowding of medical facilities, the rise of online influencers, Zoom calls, allergic reactions to vaccinations, supply chain issues, virus mutations, governmental stumbling, and a wealth of other aspects are mostly delivered FOR smiles and fun which, at this point in our post-COVID-19 existence, I really DO feel is perfectly warranted and even needed.
A little ode to how we chose to dress, even while at work (from home), was played at as well to comedic ends. The highly veteran talents of Olivia d’Abo actually kicks off the entire film, and it was very fulfilling and refreshing to see the actress back on screen, given I had not personally seen her since an episode of “Alias” back in 2003! But, the skills have been in use many times since and before then! Here she plays Grace Baxter, a straight-to-the-point journalist who interviews Dr. Bellows about the frantic state of affairs with the virus, pressing him for answers. I loved the earnestness and genuineness of D’Abo’s performance, no-nonsense and uncomplicatedly dramatic, a testament to the actress’ longstanding acting experience even in this somewhat abbreviated but key role. Kenney makes his mark from the start in conjunction with d’Abo through his very “Fauci-esque” turn as Dr. Edward Bellows, the leading virologist trying to formulate a cure to the insidious Nix virus ravaging the world.
Likewise, I admired how Kenny engages you with his character’s manner that elicits both empathy and enmity, as was the case in our real world with Fauci’s efforts that seemed both comforting yet oddly contrite, perhaps even patronizing. Stricher makes for the ideal “everyman” character longing to be reunited with his beloved from across the globe through his role as Matt, who’s overseas and can only speak with Cathy via video call as they both recollect and reconnect from a heartbreaking distance. However, when things so even further south, Matt makes a pledge he intends to keep, and Stricher credibly enacts his character’s determination and desperation with ease. Sorrel carries off her role with a very astute and likewise straightforward demeanor as Cathy, Matt’s soon-to-be-longsuffering (in more ways than one!) girlfriend back in the U.S. under quarantine who contracts the virus with some–interesting–consequences she must then endure.
I wholly enjoyed this transformation, as the actress portrays Cathy in such an innocent yet purposeful way that imbues her performance in both serious and perhaps not so serious moments with a degree of energy that serves the film and its narrative well. LaSalle is Britt, a college student who now finds herself stuck at home for both work and play, having to have video calls with co-workers and trying to still get things accomplished while also dealing with her carefree roomie Marnie plus her parents’ constantly conflicting views of how she should conduct herself in the midst of the virus. Irving is Marnie, Britt’s fun-loving college pal who still just wants to have as much fun as possible while trying to be that voice of support for Britt. What I throughly enjoyed with the two actresses is their fully amusing chemistry that illustrates two different personalities colliding in a more “forced” situation that ends up causing both of them to learn and grow in deeper support for one another. The pair pull this off with total enthusiastic flair, making the character ones to root for and just relish.
Supporting roles ABOUND in this film, and I am being utterly truthful when I say I really do wish I could give them ALL a more specific write-up as to performances they provide. Sadly, as with many a film with such prolific ensemble casts, it would make my review a new encyclopedic volume if I was to attempt it. So, to these actors and actresses, PLEASE know I acknowledge and laud every one of your contributions, sincerely. This includes Bill Victor Arucan, Tracee Cocco, Dyanne Mercante, Kyosuke Mukai, Shawn C. Phillips, Justin Terry-Smith, Laurene Landon, Kelli Maroney, and Eileen Dietz, which is only scratching the surface of wonderfully entertaining turns we see here, again all of which had their moments to both dramatically, but mostly whimsically, make their presence in this narrative known! I’ve said it before that there’s both “no small parts” and that “it takes a village” to make an indie feature film. This is proof positive of this to the best magnitudes possible.
So, in total, “Staycation” is an infectiously astute, contagiously appealing, bitingly satiric, consummately pleasing romp that contaminates your funny bone in how it has chosen to have us confront one of the most unexpected and unpredictable times in our world’s history, doing so with tongue expressly in cheek so that we can perhaps FINALLY sit back, RELAX, and just ENJOY a little fun at the expense of the virus that plagued our reality. Hence, always remember to hug a Wanderer, don those pesky face coverings, and EMBRACE the new normal! OH–if you can, avoid all vitamin-peddling clowns!
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
