WATCH THE TRAILER HERE
First, the Recap:
Never give up, never surrender!! Glutton for punishment, eh? You’ve made your mark, or at least what’s now left of it, and had initially chosen to call it quits in “The Biz”. What does it say when the mother of all invention decides to dawn on you, spurring you onwards with a newly forming, grandiose concept that just might put you back in the game? So, all you have to do is go for it with everything you’ve got and success shall arise again! Maybe? Possibly? For stalwart and beleaguered comedic film and stage vet Cherie (Cherie Kerr), an unanticipated opportunity has come about that soon she, her “leading men” Maynard (Matt Morrison)and Mitch (Rich Flin), and three actresses from the failed “Orange Is The Orange”–Cassie (Robin E. Fitzgerald), Greta (Barbara Wilder), and Estella (Elizabeth Millan)–embark on a new adventure–making a documentary based on found footage from the previous disaster to enter into film festivals and achieve glory. All shall be well. No, seriously. Well, potentially? Oh, never mind!
Next, my Mind:
It’s another fantastically orchestrated, utterly entertaining, bitingly but intentionally, hilariously satiric, playfully “unforgiving” portrait of the realm that is “The Biz” that we’re privy too thanks to this newest indie feature film effort from writer/director/executive producer Cherie Kerr and executive producers Eric Anderson and Matt Morrison that not only continues to take more than its fair share of “shots across the bow”–actually, more like direct HITS–when it comes to illustrating the ongoing perils of the industry it is comedically crushing, but also chooses to put it more specifically into the context of film festivals and all the chaos that might just be occurring behind the scenes–at least in SOME part–with the politics and shenanigans involved. Being a direct sequel to Kerr’s previous effort, “The Show Can’t Go On!“, if the experiences the director herself has encountered over the years of being a part of said institution that is entertainment remain a part/inspiration again even for a LITTLE of what we’re witnessing–that’s still undeniably scary!
Having come out of the massive failure of their first stage-based attempt “Orange Is The New Orange, the narrative here finds our doggedly intrepid, totally agitated, worn-out director and her two main guys being made aware of the existence of video material that could be turned into a documentary film, causing them to consider submission to film festivals, and then the one they end up getting into. It’s an all-encompassing immersion into an ever-unfolding study of the filmmaking process, from the insanity of editing to make a logically cohesive project, actor’s contractual requirements, rights and royalties, the tediousness of shopping for festivals and the associated investments it takes just to make it worthwhile for submission (even if one’s own mind!), festivals and their organizers being SO inept and overwhelmed, to the opportunities for meeting agents, press, and distributors, coveting festival “swag”, battles of ego and who actually gets creative credit for a film, screening nightmares, awards presentations, “undeserving” winners, and thank you speeches run amok, even backstage “deals”!
It’s literally ALL addressed and then some, but in such a beautifully executed, consistently lighthearted, whimsically irreverent, jocular way throughout, deeply engaging for the viewer to just enjoy sitting back and guffawing at the sheer absurdity of it all! Even the TOWN the festival in question takes place in is an exercise in farcical excess via the entire notion of riding the “gravy train” to success in the industry (and OVER-attentive or pushy wait staff and mangers! Watch the film!). Mind you, this IS ultimately being done for, admittedly “scathing”, humor and this critic never felt it at all means to put down the fully legitimate festivals out there, etc. But, in spite of this, it stands to reason these scenarios in general DO happen I’m sure, SOMEWHERE out there, and that’s what delivers the film’s fearless punch in “exposing” it, complete with a “where are they now” sequence during the finale that is quite a hoot. Plus, there’s the sobering actuality of what the industry can be MOST about–hearing “NO” more than “YES”. Period.
Folks, the entertainment business, let’s be frank, has never been a bastion of unwavering integrity and selflessness, nor at ALL easy to find lasting success without compromising your soul in many respects, and I applaud Kerr and Company for simply being willing to poke candid fun at it. Onwards to the acting, Kerr extends, perpetuates, and then hysterically maintains her character’s longsuffering, motivationally destroyed, yet STILL-grasping-onto-hope demeanor through her return performance as Cherie, the industry vet who was going to kiss it all a fond goodbye until new revelations renew her desire for ONE more shot at film success glory. Even as she works (through absolute MADNESS…AGAIN!) to see her new project created and gain traction via a film festival appearance, the journey is fraught with the continued frustrations, questioning, egomaniacal attitudes, zany celebrity encounters, and all other manner of lunacy, we FEEL her pain (AGAIN!), and Kerr exudes this agony so deftly throughout the film with fluid comedic timing and skill. Please remember, she’s the Founder and Artistic Director of OC Crazies based out of the De Pietro Performance Center in Santa Ana, CA! Check it out!
Morrison and Flin likewise make a triumphant return to their respective roles as Cherie’s two “go-to” guys Maynard and Mitch who stand by their director with unflinching dedication as they also strive to make the most of the unexpected chance to see their documentary project come alive while still managing to get themselves involved with other silliness along the way, and like Kerr, the adeptness of their evident talents with comedy shines through. Primary supporting players that also make a return include “power trio” Fitzgerald, Wilder, and Millan as Cassie (who’s STILL a jovially self-serving manipulative individual out for nothing else but her own “fame”), Greta (who has her own moments to be the drama queen she’s always been while discovering some new options thanks to the festival environment), and Estella (who VERY much showcases her potential for DRAMA in public upon circumstances being what they are at the festival). All three actresses are SO good at PLAYING actresses in the context they are coming out of the previous film and it was so wonderful to see them excel here again as these characters!
More arrivals include Cole Randall as the group’s VERY haggard editor Fletcher, Rey Gonzalez as the crew’s studio manager Ralph who has to put up with a LOT more than he should have to, Prateek Damodaren as former (and JILTED) tech head Kyle who’s found a way to move on in a rather unpredicted way, David Anderson as Matricher Falls’ quite eccentric mayor Clifton Radanski, Brent White as local press “celeb” Todd Tileman whose coverage of the festival just might yield the REAL opportunity he’s there for, Duane Sincerbox as Moby, a local waiter (A RIOT!!) and “talkie” who makes his presence known quite well, Matt Turrell as an actor Matthew Derby who might be getting FAR more credit than he’s due, Anabelle D. Munro and Tania Pirritano as Katrina and Roxie who are the celebrity hosts for the awards show at the festival, along with Wendy Natividad, Robbie Nelson, Lily Smalheiser, Katherine Lorentz, Rusty Felbob, Liz Borden, Anita Morales, Angela White, Timothy Smith, Bill Reed, Dan Lee, Tk Davies, Doc Adams, and H. Nelson Tracey ALL of whom (and I DO mean this) totally make their appearances WORTHWHILE to watch and laugh at. BRAVO to the entire supporting cast beyond these as well, as you ALL make a movie possible.
So, in total, “The 3rd Annual Matricher Falls Internationel Film Festival” (and YES, the one word IS misspelled on purpose, peeps. Just had to abbreviate the title in my review header above!) is, like its predecessor, a flat-out gratifying, sidesplitting excursion into lively, exuberantly purposeful mockery and sportive derision that actually ends up being a compelling statement about the true fortitude it takes to make it in the industry while providing us with 90-minutes of definitive escapism that also delivers EXACTLY what we need SO much of in this day and age–a reason to RELAX and SMILE!!
As always, this is all for your consideration and comment. Until next time, thank you for reading!
