WATCH THE TRAILER HERE
First, the Recap:
Ever have one of those moments where you realize you’re worlds out of your depth? The situation arises where action is required, and despite being completely blindsided by it all, you decide to dive in regardless, only to discover everything may not be what was anticipated. It then becomes about whether you fold under the pressure, or find a path to persevere and succeed. For a Midwestern, slightly odd and socially awkward woman named Blanche (Michelle Way), this reality will arrive as unexpectedly as the news she receives from her father Spike’s (Duane Weekly) lawyer Marvin (Mark Christopher Lawrence) which becomes the catalyst for her take a journey to sunny California to claim an inheritance–an adult film studio–and everything that comes with it.
Immediately knowing this atmosphere and domain are not something she’s remotely cut out for, Blanche soon finds herself at the mercy of not only the agenda of Marvin, but of the studio’s unscrupulous and manipulative producer Melissa (Theresa Layne), primary cinematographer Hitchcock (Merrick McCartha), and head actors Amber (Diane Sargent) and Lance (Karl Backus), all of whom stand to gain substantial remuneration from Spike’s will. Set up to fail at first, despite best efforts, Blanche begins to cave to the manufactured truth she can’t successfully run the studio, even when the others have a change of heart about who they’d rather have as their new boss. But, Blanche finds the ultimate encouragement, and newfound fortitude, from the one source that truly matters.
Next, my Mind:
Gratefully, and without question, the cleanest comedy about the adult film industry I have ever witnessed, this fifty-one minute indie short film effort from writer/director/producer/cinematographer Ronn Kilby delivers the maximum amount of genuinely hilarious comedic moments with the greatest level of goofy absurdity while providing us a beautifully zany throng of silly characters, both primary and supporting, that you cannot help but be enraptured and entertained by from start to finish. This is the style of comedy as a whole this critic greatly misses in a world obsessed with going totally and, in my opinion, unnecessarily overboard with crudeness and obscenity for laughs that just gets tiring and tedious, again for me anyway. Yes, there are still off-color elements here, but if anything, the tone is much more like “The Naked Gun” or “Hot Shots” than say “Step Brothers” or “We’re The Millers”. Plus, the narrative, amidst the jocularity and wonderfully apropos stereotypes presented, has at its core the always welcome underdog story involving a regular person thrust into an extraordinary state of affairs who must overcome obstacles in order to prove to themselves and others their worth and, in this case, worthiness to lead and be respected.
We see the tendency and desire to appease others, especially when forced into it and saddled with that more timid, humble attitude, being pushed to new limits while likewise having to step up and find within a better sense of what we are actually capable of, put our all into regardless of what others say, and then see the results that are birthed from it. When this initially yields what we consider disaster, it then becomes far too easy to just quite and go home instead of locating a better means by which to gain authority, confidence, and willingness to keep pushing towards that final goal, seeing victory and undeniable satisfaction upon achieving it. Those themes are all explored here to great effect while not losing sight of the sheer nonsensical, madcap nature of the story overall, therefore allowing us to both laugh constantly yet end up experiencing something heartfelt and real in spite of it all. Visually the film is shot cleanly and with precision, giving us the needed perspectives of the characters and events presented to fullest comical effect while clever but pleasantly straightforward writing furnishes us with a plethora of splendidly wacky and amusing sequences filled to the brim with rib-tickling fun.
Way is an absolutely charming, engaging, and hysterical riot, while also channeling her inner Frances McDormand-by-way-of-“Fargo”, as Blanche, a Minnesota-based publisher working for a boss she actually can’t stand but chooses to please while exclaiming her undying love for her cat and generally being one of the most laughably irregular, innocently offbeat, and socially inept human beings around. Life takes a decidedly abrupt turn for her when a call comes that radically alters her unconventionally mundane existence and hurtles her into the California jet-set arena of–the porn industry and the studio her father Spike owned, now passed along to her as its new owner and leader. Easily the butt of jokes and treated as either inferior or ignorant by the studio’s existing veteran employees, Blanche does her level best to learn the ropes (perhaps in more ways than one!) and accomplish what’s expected of her to prosper the studio. When the machinations of a power-hungry producer end up placing Blanche in an unenviable and seemingly impossible situation for her to rectify, it seems all is coming to an end until the viewing of a recorded DVD that was left to her brings about a change that will forever shape Blanche’s demeanor and rocket her forward in ways she never dreamed and achieve goals she never knew she could. Throughout the film, Way’s perfect comic timing, witty manner, and accessible appeal shine forth brilliantly.
Many supporting lead turns are delivered here, first by Lawrence as Spike’s affable lawyer Marvin who delivers the news to Blanche about the loss she’s suffered, what she’s gained, and what steps she needs to take to gain control of her father’s business, even if the whole while he expect hers to fall flat on her face as many others anticipate as well. Lawrence has excellent comic timing as well, especially when we recall his role as Big Mike on “Chuck”. Layne is all catty, egotistic, snarky bravado in her role as Melissa, a totally self-serving studio producer who really has one idea in mind when it comes to Spike’s legacy and maneuvering to ensure Blanche doesn’t really get the chance to cement herself as the company’s new head. Watching the smiling face that hides another far less amicable manner is quite a barrel of laughs, and Layne plays it so believably, which only adds to the humor. McCartha hams it up wholeheartedly as the totally snooty, likewise ego-centric cinematographer Hitchcock, who firmly believes his happiness would be best satisfied by his part of the “take” financially that is promised to him in Spike’s will. Yet, even his own haughtiness is brought low when the writing is on the wall and he realizes that perhaps having Melissa as a boss wouldn’t be as great as he might think.
Sargent utterly embodies to a “T” the attitude and diva-centric bearing of an “I’m the star” actress in her performance as Amber, the lead in Spike’s many “colorful” films, complete with augmentations she’s overtly proud of and the vain stance to back it up. Yet, she’s a total airhead as well, playing to be smarter than she is, which makes Sargent’s enactment of her an even greater stitch to view. Along the same lines, Backus kills it as the studio’s resident “stud” Lance, who has more actual personality and confidence issues than one could ever picture someone of his–endowments–having. His interactions with Blanche especially are a quite playful and whimsical, but we know his heart is in the right place, and Backus portrays Lance’s borderline neurotic manner perfectly. Primary supporting turns arrive from Mark Atkinson as Buck “Beaver” Minster, the studios gofer who ushers Blanche into the wonderful world of adult film, Kirin Kim as a highly successful film distributor Kelly whom Blanche makes quite an impression on when trying to make clear her expectations when it comes to the deal between their organizations, Barb Chandler as Blanche’s publishing job’s boss Olivia, whose had about enough of her employee’s constant lack of attendance and/or get up and go, yet still capitulates to Blanche’s needs, Stephen Scott as the studio’s driver who chauffeurs Blanche around town and offers a few opinions of his own along the way, Kristen Horgen as Viviane, the studio’s voiceover actress for specific–sounds–that the studio’s films need, and of course Weekly as Blanche’s father Spike, who plays an integral role in influencing the narrative overall as well as his daughter’s needed boost in positive action and self belief.
Additional appearances come from Hassan Omar, Charlie Steele, Thais Maya, Frank Forth, Oscar Camarillo, and Tim Mace among many others. In total, “Skin” is a blissfully uproarious short film that offers total merriment and levity while not venturing into the overtly distracting arena of profane extremes that so much of contemporary comedy chooses to provide. Thank you to Mr. Kilby and Company for proving it doesn’t have to take that kind of substance to elicit quality laughs with an underlying sincere message about how those who have inspired us may have actually been inspired BY us as well.
In total, this is all for your consideration and comment. Until next time, thank you for reading!
Thanks! Excellent review and recap.