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title: (The over-reaching production values are characterized by unconvincing

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Everything about the backstory of Hassmann's feature is inspiring, especially to independent filmmakers who commit one hundred percent to their vision, whatever it may be. Unfortunately, the result is one of those films that just doesn't work. 

Even for a picaresque plot comprised of incidents and moments, it's a flat and disjointed effort that lurches forward and stops and lurches forward again throughout its brief running time—a labor of love that doesn't deliver.

The over-reaching production values are characterized by unconvincing green-screen work, which might possibly have been converted from a liability to an asset if the movie had leaned into the chintziness and gone for something more "storybook." 

The actors (including the late Peter Bogdanovich as an alcoholic manager at the hotel where Greta stays, and Blaine Gray as Duke, a good-hearted Elvis impersonator) are stuck playing cartoony, cardboard-cutout, indie-movie Americana "types," defined by one or two traits. The humor seems to want to be bubblegum sweet and bitingly satirical at the same time, impulses that cancel each other out. 

It might have worked in spite of itself if Hassmann's performance were powerful enough to gather it all up and unify it through sheer originality and energy. But while she's an attractive, likable, sympathetic lead, there's no discernible comic point-of-view to her performance, and her physical resemblance to Madeline Kahn circa-1970s doesn't do her any favors. 

You may find yourself imagining what a brilliant, constantly surprising performer like Kahn, or a modern equivalent like Kristen Wiig, or an unknown who was more of a dynamo, might have done instead.


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