It’s a totally unique and endlessly surprising coming-of-age tale that is carefully sentimental and knock-down, drag out funny.
The “Boogie Nights” director, who is deathly allergic to making bad films, has found the perfect blend of role and actor with Hoffman.
He’s a charming old soul who acts in tiny film roles and uses the money to start weird side businesses.
Most nights, Gary haunts the Tail ‘o the Cock — the sort of Old Hollywood-style eatery that you still see in Palm Springs — and sits at the bar, schmoozing with the maitre ‘d while nursing a Coke as if it’s straight gin.
However, it’s our mixed feelings about the gap and the actors’ incredible chemistry that make the movie so riveting and sneakily powerful.
Alana is going through what millennials termed a “quarter-life crisis.” She’s approaching 30, has no career or romantic prospects and still lives with her parents.
They make epics of two-minute cameos, unlike the A-list “Dispatch” actors, who each said one monotonous line and called an Uber.
The director’s work is also easy on the eyes.