Nick Sadler rounds out quartet as the playwright-director who’s either haranguing or psychoanalyzing his cast. Sample observation: “I see it as Shakespeare did — all the world’s a stage.” Biggest of pic’s many unintentional hoots has Sadler bolstering cast’s motivation with a bag-full of real guns to “open the power inside you.”
Robert Forster provides all-too-brief backbone as Flanery’s hard-nosed dad, and the late Dennis James delivers a straight-faced turn as college’s bottom-line dean.
Lensing goes in for jarring rack-focus and “Reservoir Dogs”-inspired slow-mo, while a rainy-eve rendezvous between Bondies and Natasha Wagner plays like outtake from John Ford’s “The Hurricane.” Techno-pop score is serviceable for bank finale, but is mostly Eno-saccharine and at odds with backstage histrionics.
Lewis sets up the climactic bank-casing with superimposed proscenium curtain, a nice touch that leads one to expect a fun turnabout that never materializes. Like the too-tightly wound cast, helmer has taken this talky Stanis-standoff far too seriously.