Here’s a rare thing: The Way Way Back is a film that can only be described as awkward – and that’s a compliment. Somehow.
It’s a coming-of-age story about a shy fourteen year old boy getting a job at a water park while on vacation with his mother and her boyfriend. And that’s really about it, in terms of plot. The dramatic climax is a ride on a water slide. But somehow it really does work.
The Way Way Back excels at evoking awkward social situations in a manner which is played primarily for awkwardness, not for comedy – though it often is funny. It’s something of a socially awkward fantasy. A recurring theme is apparently awkward situations the protagonist is forced into turning out to be entirely positive. Is that a thing that happens often? I don’t know, but it’s a nice idea, motivationally speaking.
All in all, it’s a really nicely written dramedy that I suspect will be overlooked somewhat – the premise is not an easy sell and its trailers misrepresented it as a rom-com – and very much worth seeing. Especially if you’re a community fan – Jim Rash a.k.a. Dean Pelton co-wrote and directed. If that’s not something to recommend it I don’t know what is.
Now here’s a thoroughly unusual comedy. Lake Bell’s directorial debut and (presumably) pet project, it’s a feminist comedy about trailer voice-overs.
Bell plays Carol, daughter of legendary trailer voice-over artist Sam Sotto. She works as a freelance vocal coach, but dreams of breaking into the male-dominated field of movie trailers. The film is firmly grounded in reality: the gender disparity in voice over work is very real, as is the domination of a tiny number of performers. It even opens with documentary footage introducing the late great Don LaFontaine before seguing into the fictional world. It’s hard to tell exactly where the line is at times: the film trailers Carol voices are entirely fictional, but at least some of the characters are real people.
But the world of trailer voice-overs is largely a backdrop. Much of the film is concerned with Carl’s personal life, her budding romance with her sound-mixer, her sister’s struggling marriage, and her changing relationship with her father as the two of them come into competition for the same job.
In a World is ultimately a meditation on the important of the female voice, literally. Women’s voices are a recurring theme throughout the film and Carol’s voice is eventually heard by the whole world. It’s an important message and it’s delivered, though not perfectly, without being heavy handed.