Showing posts with label olivia grace applegate. Show all posts
Showing posts with label olivia grace applegate. Show all posts

Tuesday, 15 March 2022

The Beta Test (2021)

The third feature film from Jim Cummings, this time co-directed and co-written with co-star PJ McCabe, The Beta Test is both darkly hilarious and highly disturbing. A lot of viewers may not want to identify with most of the behaviour shown, but it's impossible to deny the truth at the heart of it.

Cummings plays a Hollywood agent named Jordan Hines. He may not be one of the biggest names in town, but he seems to be doing okay. There's a potentially very big deal lined up, Jordan is set to marry a lovely woman named Caroline (Virginia Newcomb), and, to top it all, he has just received a message with the offer to meet a compatible stranger in a certain hotel room for blindfolded, anonymous, sex. That confidence boost, an added swagger, soon turns ugly, as Jordan starts to become more and more desperate to find out who his sexual partner was in that room.

Let's not pretend otherwise here, The Beta Test puts the male ego under a microscope and finds it to be seriously lacking. The main character is shown to be too fragile, too insecure (for no good reason, other than his self-perception), too entitled and demanding, and too easily taken down a slippery road of secrets and lies for the promise of a good, sweaty, sex session. The main character is, despite how you may protest, representative of many men. Which is why The Beta Test (a frankly superb title, with that loaded double meaning) works as well as it does.

While it obviously explores sex, both in terms of what people desire from one another and the way it can affect every part of your life (a confidence boost, a lingering afterglow that others view in you as something positive, a journey to keep exploring and doing better with any new partner), The Beta Test also, and in a more straightforward way, explores toxic masculinity and the culture of brutish bullshittery that makes up many different career sectors. Cummings plays a Hollywood agent, but he could have easily been a stockbroker, a salesman, a police officer, or someone in any number of typically male-dominated environments where shows of strength and the ability to shout others down can win out over more refined approaches.

Cummings is great in the lead role, once again perfectly embodying a man at war with his own expectations of how a man should act. His antics, his rants, his horrible abuse of others around him, everything veers constantly between the hilarious and the horrendous, and Cummings happily makes himself more and more of a monster as circumstances slip further out of his control.  McCabe also does well, playing the best friend/colleague who tries to help the main character get himself back on the right track. Newcomb has less to do, but gets to basically play someone with the patience of a saint, and many others make strong impressions in smaller, but no less vital, roles in the proceedings.

Often very uncomfortable, even the opening scene is a horrible and lingering gaze at fatal abuse committed by a male with a wounded ego, The Beta Test is yet another film that feels a bit depressing because it is so relevant and necessary. It’s another winner from Cummings, working brilliantly in collaboration with McCabe, and one that I would recommend to everyone. Sadly, I fear that those who should take heed of it most will not see anything of themselves onscreen. But they are there. And they are clearly seen.

9/10

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Saturday, 25 September 2021

Shudder Saturday: Follow (2015)

The feature film debut from writer-director Owen Egerton (who followed this up with the more enjoyable, but not necessarily better, Blood Fest), Follow is a small-scale thriller that uses that enjoyable trope of someone waking up next to a dead body without remembering how the fatality happened. It definitely won't be for everyone, basically mixing some elements of American Psycho with Les Diaboliques, but it's certainly worth watching. I'd like to think that more people end up enjoying it than not.

Noah Segan plays Quinn, a young man who appears to be very much in love with his girlfriend, Thana (Olivia Grace Applegate). But Quinn is set to move to a big city, something Thana isn’t comfortable with. She gets Quinn a very unusual Christmas gift, strangely trying to illustrate the solidity and trust in their relationship. It’s a gun. And she wants Quinn to put it in his mouth and pull the trigger. Is it loaded? It certainly seems that way when Quinn wakes up alongside Thana’s corpse. Will Quinn remember what happened? Will he sort things out? Will people stop visiting the house?

Although I cannot tell if it is intentional or not, Egerton seems to be having a lot of fun with a literal manifestation of your partner asking a loaded question. The two main characters here seem to have spent some time ignoring cracks that should have been dealt with sooner, particularly when it comes to the upcoming relocation of Quinn. And then there's his close friendship with Viv (Haley Lu Richardson), a young woman who works alongside him at his bar job. Those things don't always lead to the insanity that we see unfold here, but I think that Egerton liked the idea of taking very relatable moments from relationships and using them to take his characters to a place that none of us would want to visit. Setting it at Christmas, although it's not a focus of the film, also underlines a key concept being played with, the couples who plaster a grin on their faces and act as if everything is just fine and dandy while getting through major family events (such as . . . Christmas).

I like Segan as an actor, and he excels at somehow managing to keep you on board even while playing some repugnant characters. He's fantastic here, the role feeling quite tailor-made to play to his strengths and give him a bit of a showcase. Applegate and Richardson are also cast very well, with both given some interesting moments throughout. Although there's a very small cast, most of the main players earn their screentime. And it was a pleasure to see Don Most in a very small role.

Not only does this film do a great job with fairly limited resources, it's one that would reveal more with one or two rewatches. There's a lot to take in here, from the sly humour and metaphors running throughout it to the ambiguous development of scenes that show Segan's character trying desperately to keep a grasp on a reality that is becoming increasingly slippy. I liked this, certainly enough to recommend it to others, but I suspect I could grow to like it even more if I make room in my busy viewing schedule to watch it again.

7/10

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