For the opening sequences of this Canadian movie, we have to set our attention to the Strozkas, a loathsome suburban family, and their black sheep, Darryl (Nick McKinlay). There’s tension between the two camps that could easily be solved by better people skills or better writing.
For example, the Strozkas don’t have to verbally pounce on Darryl – the writer’s pass this off as comedy, by the way – or make fun of him for not having a driver’s license like Margaret Thatcher would. They could, instead use nepotism to get him a job so that he won’t stand out within the family or society.
Likewise, if Darryl didn’t compare employed people to Hitler, because that comparison hasn’t been used before, or if he didn’t have delusions about his childhood sweetheart still loving him, maybe I wouldn’t hate him as a main character so much. Isn’t he tired of being a loser?
Darryl’s old flame happens to be shooting a movie at the titular Moon Point, the same title Sean Cisterna’s movie a hundred miles away from him and his hateful family. So he goes on a trip with his paraplegic and recently MIT-admitted friend Femur (Kyle Mac) on the latter’s mobility device and the cart attached to it.
It would have been painful if the audience had to stick with the annoying Darryl and the whiny Femur so they inadvertently pick up a third for their journey. Along the road is a broken down car owned by boyfriend escaping Kristin (Paula Brancati). Her Sophie’s Choice to go on her way is to either an ice cream vendor who’s also a sex offender or the cart.
Kristin decides the latter and the three are on their way. Brancati is a glowing presence onscreen,a change from her gloomy yet equally powerful turn in “Degrassi TNG.” But her outgoing personality collides with her new dependence and attachment to these men, especially passive towards Darryl’s lies and amateur psychoanalysis. Why is she taking this from a stranger?
The movie has solid attempts towards being cartoony and this is a good thing, distracting from the character’s misanthropy.
This exists on flashbacks as a Darryl’s younger version reminisces about the love of his childhood’s life, drawn hearts and tears and all. These sequences have an off-kilter heart, as these pint-sized versions of the character mix age-inappropriate body, birds and bees humour with good old puppy love.
Darryl is himself a cartoon character, his lanky frame flailing around situations too strange and occasionally funny to be true. With Kristin he meets psychotic innkeepers of a Victorian-styled hotel and a AA costume party.
Another break from the messed up characters and plot happens near the end when Darryl finally meets his woman and not in the way he expects. She’s a fantasy, a woman who, despite her budding career apparently doesn’t care if her girlhood sweetheart is unemployed because she’s a good person and he is too.
This movie just affirms a man’s perceived and undeserved right for instant and consequence-free companionship, and it’s really sad that straight male nerds still think like this.