Hits, 2014
Directed by David Cross.
Starring Matt Walsh, Meredith Hagner, Micheal Cera and David Koechner.
SYNOPSIS:
A disgruntled New Yorker’s cause is taken up by a hipster think tank from Brooklyn.
“Written and directed by David Cross, based on a true story that hasn’t happened yet.”
*Google translates opening credits*
“Strap in.”
Preconceptions are always a little tricky, expecting a film to be something it ain’t. Cross’ name, particularly when it’s associated with such a level of creative control, brings to mind what he represents: anarchy, absurdity, Arrested Development. Cera’s name on the credits, albeit his performance brief, shapes one’s expectations further. So it’s surprising how carefully considered and affectionate the first 70 minutes of Hits is.
The film is a character-based comedy drama set in the ironically named town Liberty in upstate New York. It’s hard to choose who exactly the protagonist is, as Cross rather expertly transitions between at least three substantial narrative threads, like a circus performer spinning plates. Each is characterised by desire – Katelyn (Meredith Hagner) is obsessed with becoming famous, idolising the reality TV stars of Teen Mom and The Voice, rehearsing interviews with Ellen about her successful singing career; David (VEEP‘s Matt Walsh/elongated Louis CK), her father, just wants the city council to address the pothole on his street and recognise his civil rights; and Donovan (James Adomian), a Brooklyn-based political activist, wants to raise this gross injustice’s profile to the nation.
But their desires are empty. Katelyn can’t sing; for all his ranting and raving, David actually has nothing to say; and Donovan speaks in vacuous rhetoric like ‘boots on the ground,’ ‘grass roots’ and ‘social media engagement.’ Damn hipsters. They all desire recognition in some way, but, truthfully, have very little worth recognising about them.
This is played upon considerably, and Cross treats them and their large array of supporting characters callously. But there is a sensitivity beneath this all. Moments like David only hearing angels when his daughter sings, or when, in one of her Ellen rehearsals, Katelyn wells up talking about how great her father is, give an extra dimension to what could have been a rather cynical and mean-spirited film. Though there’s nothing wrong with that if hipsters are involved. Damn hipsters.
The drama moves along slowly for the opening 70 minutes, gathering pace for the quarter hour climactic showdown at the city’s weekly council meeting. And then, half way through David’s rousing speech, a room full of oversized-spectacle wearing, groomed moustachioed, bow-tie clad hipsters (damn, damn hipsters) cheering him on, Cross delivers the punchline; the ‘Hit.’ Only then do you realise that the preceding hour-or-so was simply an elaborate set-up. Here now comes the farce, the anarchy and anger for which Cross is famed. The rage is palatable. This is what those opening words – ‘Directed and Written by David Cross‘ – promised. It just so happens that he’s rather good at the quieter stuff, too.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★
Oliver Davis is one of Flickering Myth’s co-editors. You can follow him on Twitter (@OliDavis).
