A feet-on-the-ground anticipation with a easily underplayed comic tone, Well Wishes is partial highway trip, partial intrigue and partial starting-over fable. Writer-director Anderson Boyd’s well-cast entrance underline centers on an doubtful business venture: scooping adult a coins tossed in fountains. Spoofing corporate enlightenment and other amicable conventions with a light touch, a film doesn’t wholly equivocate corn as it moves toward a gentle, low-impact lessons in piety and fulfillment. But a movie, that premiered during a Hollywood Film Festival, has heart. That and Boyd’s ear for healthy discourse could assistance beget silver down a highway in small-screen and digital formats.
Shane Callahan (Under a Dome) plays Miles, a amiable everyman during a story’s center. The movement kicks off when, in one fell swoop, his foolish trainer (Nick Basta) fires him — on a basement of a silver toss — and his hideously determining partner (Audrey Speicher) leaves him. These are events that tend to go hand-in-hand in regretful comedies, and always vigilance a much-needed purify break. Though Miles is reduced to vital in a residence emptied of seat and operative as a Lady Liberty mascot for a mall retailer, it’s transparent that improved things distortion ahead.
Inspiration strikes when he notices a Kennedy half-dollar in a mall fountain that serves as a modern-day wishing well. Miles’ initial incursion into radical fountain “maintenance” nets an considerable haul. Best crony Jack (Cullen Moss) quits a pursuit he hates to partner with him.
The men’s affinities and differences are transparent in a actors’ spontaneous repartee. The some-more required Jack objects to Miles’ employing of an aged outcast to assistance drive their enterprise. But a folksy Durwood (Don Henderson Baker), who has a certain hint notwithstanding his soiled hands, turns out to have a knack for taxation law and investments. He and Jack conduct a bureau and a fast flourishing income while Miles hits a road, targeting a fountains of North Carolina.
Accompanied by a zippy measure that suits his ’57 Chevy sinecure car (although Boyd, like many indie directors, fills his soundtrack with too many songs), Miles visits industrial parks, metropolitan buildings, selling centers and noble gardens. In one lifelike site he encounters a practical though gently puzzling Penelope (Anna Stromberg). She becomes his second hire, their intrigue maturation as she really gradually divulges her reasons for being on a road. The earnest of a conditions becomes transparent when they revisit her relatives (Jane McNeill and Bill Ladd) for a moving cooking — their TV trays one of many good touches in Katie Bulla’s prolongation design.
Bulla finds a right change of classification and confusion in a interiors of Miles’ house-turned-office, where Jack and Durwood are assimilated by a staff of weirdos and misfits. It’s a comic component that could have been improved grown though instead goes off-track in a form of an worker whose zeal to greatfully is over-the-top (Nate Panning).
Though clearly heartfelt, a account lands too softly, in partial since Miles’ tour doesn’t feel like a outrageous leap. When we initial accommodate him he’s misguided, carrying staid for element and romantic comforts. But his frankness and good inlet are never in doubt. And a story’s ultimate warn isn’t expected to warn anyone, undercutting a dictated impact of Boyd’s points about appearance-based assumptions and slight definitions of success.
But Well Wishes is serve justification of a colourful filmmaking village in North Carolina, a considerable operation of locales prisoner in candid conform by cinematographer Daniel Satinoff. With a contemporary spin, Boyd and his collaborators have brought a story with a agreeably out-of-date sensibility to life.
Production companies: Heads Up Film, Caronova Pictures
Cast: Shane Callahan, Cullen Moss, Don Henderson Baker, Anna Stromberg, Nate Panning, Christy Grantham, Jane McNeill, Bill Ladd, Nick Basta, Audrey Speicher, Jon Stafford
Director: Anderson Boyd
Screenwriter: Anderson Boyd
Producers: Juan Cruz Pochat, Anderson Boyd
Director of photography: Daniel Satinoff
Production designer: Katie Bulla
Costume designer: Lauren Reeves Thomas
Editor: Anderson Boyd
Composers: Eric Kaye, Jason Payne
Casting: Tracy Kilpatrick
No rating, 94 minutes