Dogma features have that acting school exercise feel. One extreme example is Michael Sorenson's "Converging With Angels," a Chicago-set drama that treats a rather lurid-pulp premise -- successful male gigolo "rescues" sexually exploited lost-lamb female -- with dreary improvisational earnestness for almost three hours.
Dogma features have that acting school exercise feel of a process that’s much more revelatory for the makers than it is beneficial for the audience. One extreme example is Michael Sorenson’s “Converging With Angels,” a Chicago-set drama that treats a rather lurid-pulp premise — successful male gigolo “rescues” sexually exploited lost-lamb female — with dreary improvisational earnestness for almost three hours. Casts’ commitment and some sharply observed scenes ultimately can’t make aimless vid-shot project credible, let alone commercially viable.
A high-end male prostitute dubiously named Dylan Thomas (Robert Tobin) discovers willowy Allison (Melissa Muniz) passed out on a sidewalk in a little black dress and high heels; she’s gotten blind drunk after running away from a boyfriend’s proposed four-way. Dylan takes her home and puts the girl to bed, unmolested; next morning, she’s briefly panicked, then reassured as he stops in between client appointments (both male and female). A turn toward overwrought melodrama at the end only underlines script’s contrivance, with principal characters and their relationship underdeveloped. Thesps try hard, however, with some assertive support perfs and discomfiting intimate situations coolly depicted. Tech values are low even by Dogma standards.