A one-night mount turns catastrophic in Charles Hood’s regretful comedy.
If a cinema are to be believed, each one-night mount starts out with prohibited sex; degenerates into blatant feeling churned with dumb humor; and ends with a genuine regretful connection. Such is a box with Charles Hood’s radically two-hander comedy, Night Owls, whose singular environment seems some-more ideally matched for a theatre than screen.
The story starts with a hook-up after a party between prohibited barkeeper Madeline (Rosa Salazar) and good man Kevin (Adam Pally), who can’t trust his luck.
“You’re a hottest lady who’s ever shown an seductiveness in me,” he tells her shortly before she jumps his skeleton in a suspiciously magnificent home to that she’s brought him.
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But of march it’s too good to be true, as Kevin shortly discovers that a residence indeed belongs to Madeline’s married ex-boyfriend, who also happens to be his boss, Will (Peter Krause), a worshiped college football coach. Even worse, he wakes adult to find her upheld out in a lavatory after carrying downed a bottle of pills.
Making an puncture call to his co-worker (Rob Huebel), Kevin is told to lay tight. Eventually a team’s alloy (Tony Hale, expertly comic as always) arrives and advises him to keep Madeline watchful all night until things can be straightened out in a morning. (Considering how doctors can be sued during a dump of a hat, a instruction doesn’t accurately seem credible.)
Cue a regretful fireworks and earthy mayhem, as Kevin, after formally putting a woozy Madeline by her paces, plays baby sitter, most to a amazement of his burning charge. Eventually a rapport of sorts is reached, and as a night passes a dual rivet in such activities as personification darts, holding a wintry drop in a pool, eating a indeterminate casserole, and exchanging a arrange of witty, scathing chaff that is de rigueur for regretful comedies.
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That this synthetic erect works during all is due to a satirical characterizations, neatly smart discourse and enchanting performances by Pally, a maestro of such sitcoms as Happy Endings and The Mindy Project, and Salazar, recently seen in Maze Runner: The Scorch Trials. The latter is quite good during delivering a spiteful taunts that somehow make her impression all a some-more appealing.
The film flirts with some-more critical themes, such as Kevin’s eyes-opened disillusionment with a manager who he’s prolonged hero-worshipped. But it’s best appreciated as a anticipation unfolding for guys who wish to accommodate a hottest girls who’ve ever shown seductiveness in them.
Production: Haven Entertainment
Distributors: FilmBuff, Orion Releasing
Cast: Adam Pally, Rosa Salazar, Tony Hale, Rob Huebel, Peter Krause
Director: Charles Hood
Screenwriters: Seth Goldsmith, Charles Hood
Producers: Toby Louie, Seth Goldsmith, Charles Hood
Executive producers: Mauricio Betancur, Brendan Bragg, Jesse Hara, Kevin Mann, Jordana Mollick
Director of photography: Adrian Correia
Production designer: Ayse Art
Editor: Grant Surmi
Composer: Kevin Blumenfeld
Not rated, 90 min.