In “The TV Set,” David Duchovny plays a sincere writer trying to bring a quality series to television. The undramatic but entertaining plot concerns the gradual erosion of his ideals at the hands of tacky studio executives. The writer repeatedly compromises, and while he’s not devastated, he’s not terribly distressed either. This sort of describes the film as well. It is in its favor that the movie does not take itself too seriously; in fact, that is the moral of the story.
There is no one better suited to deliver this message of mild chagrin than Duchovny. In most of his projects, he maintains a dry tone that is a casual mix of depression and nonchalance. I kind of love him and rent whatever he is in. This doesn’t always work out, but in this case, the results weren’t too bad. They weren’t exactly memorable, but you could do worse.
Sigourney Weaver was very amusing as the blindly crass studio executive whose every decision brings Duchovny’s personal pet project closer to the lowest common denominator. There is a tasteful British executive who realizes the mistakes of his American counterparts; his struggle to maintain the standards to which he is accustomed is less than suspenseful.
Judy Greer is, as usual, a bright spot as Duchovny’s manager. But everyone could have had funnier lines to say. This is an amusing look at the journey from a TV pilot to an actual series, but the tone fails to arrive at a real point of view. Perhaps this was too close to home for the writer and director Jake Kasdan. It has the feeling of material that is based on actual experience in that it is underplayed and under-explained because the creators are so familiar with it.
Kasdan is the son of director Lawrence Kasdan, and his films, which include the lightweight “Orange County” and the upcoming “Walk Hard: The Dewey Cox Story,” have not exactly followed in his father’s sometimes overly sincere footsteps. His parents, after all, are responsible for the sweepingly earnest “Grand Canyon.”
This is by no means the worst comedy you’ll rent this year. However, it was one of those movies I read about, looked forward to, and then quickly forgot upon viewing.
“The TV Set” is currently available to rent.
“Broken English” is also a film by the progeny of Hollywood royalty. In this case, the writer-director is Zoë Cassavetes, daughter of Gena Rowlands and John Cassavettes. Her film, however, owes a much bigger debt to hipster pal Sofia Coppola and her lovely “Lost in Translation.” This meandering film is the less successful older sister of that one.
It centers on Parker Posey as a hapless thirty-something who is lonely and wants to find love and marriage. Her off-putting personality pushes away even the cute Frenchman who tries to help her loosen up and be happier. Posey gives a fairly emotional performance; seeing this film made me realize the extent to which she poses and postures in her myriad indie films.
In fact, Posey is so honest in “Broken English” that she is often unlikable and hard to watch. Her gradual transformation is a real relief to the viewer, whose stamina is tested by rooting for such a sad girl. In interviews, Zoë Cassavetes refers to the unintentional humor of this film, but I found very little.
What charm is in “Broken English” comes entirely from the sweet romantic interest Melvil Poupaud. His thawing of the guarded Posey is entirely convincing. However, this film could have accomplished everything it did in about half an hour. It was occasionally compelling, but ultimately as thin as the eternally cool Parker Posey herself.
“Broken English” is currently available to rent.
Contact Asia Frey at afrey@lagniappemobile.com.
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