Review: ‘Hello Lonesome’

Suburban lonelyhearts are never short of quirks in Adam Reid's forgettable "Hello Lonesome."

Suburban lonelyhearts are never short of quirks in Adam Reid’s forgettable “Hello Lonesome.” Pic confuses odd situations for storytelling, eccentricities for character study and point-and-shoot filming for visual cinema, all in the context of an ensemble of mild interest and a setting that almost goes out of its way to be flat and boring. In this sense, pic is a useful object lesson for student filmmakers on what not to do, but is otherwise a dud for fests and potential buyers.

Appearing to be living the life of Riley in his spacious, U.S. flag-decorated home, voiceover artist Bill (Harry Chase) pines for contact with his long-absent daughter, and nearly kills himself in a fairly incredible accident, until he’s rescued by delivery guy Omar (Kamel Boutros). Widow Eleanor (Lynn Cohen) sells her beloved T-Bird, and finds a bit of comfort with sarcastic neighbor Gary (James Urbaniak). In the film’s least convincing arrangement of characters, gambling nut Gordon (Nate Smith) falls in love with Internet date Debby (Sabrina Lloyd), who then discovers she has stage-four cancer.

Hello Lonesome

Production

A Flycollar Films production in association with Northern Lights. Produced by Adam Reid. Executive producers, David Gioiella, Mark Littman. Directed, written by Adam Reid.

Crew

Camera (color, DV), Reid; editor, Scott Rankin; music, Ted Gannon. Reviewed at SAG Foundation Actor Center Theater, Los Angeles, June 11, 2010. (In Los Angeles Film Festival -- competing.) Running time: 92 MIN.

With

Sabrina Lloyd, James Urbaniak, Lynn Cohen, Harry Chase, Nate Smith, Kamel Boutros.

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