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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Sundance Review: Safety Not Guaranteed

One of the biggest surprises of this year’s Sundance is just how terrific Safety Not Guaranteed, Colin Trevorrow’s film based on a real Craigslist ad seeking a companion for time travel, turned out to be. The film’s quirky premise, which sends three magazine employees to investigate whether the man who placed the ad really thinks he can travel through time, seems funny enough just based on the premise (and it is), but like the writers who go off in search of what they think will be a wacky story to poke fun at, we find instead a very human film that’s complicated and genuine and never cruel in its use of humor. I thought this was by far the strongest script at this year’s Sundance in terms of sheer quality of writing and execution of idea, and apparently I wasn’t the only one; screenwriter Derek Connolly won the Waldo Salt Screenwriting Award for Safety Not Guaranteed at last night’s awards ceremony.

Parks and Recreation‘s Aubrey Plaza carries much of the film as Darius, a cynical intern roped into traveling to the shore town of Ocean View, Washington with fellow sad sack intern Arnau (Karan Soni) and their annoyingly smug and smarmy boss Jeff (Jake Johnson), who really pitched the story so he’d have a paid trip to Ocean View to hunt down ex-girlfriend Liz (Jeneca Bergere), the first teenage romance that he’s never quite gotten over.

The three writers stalk and hunt down their target, Kenneth (Mark Duplass) and Darius is pegged to make contact with him. And she does, in a hilarious, brilliantly written comedic scene in which she approaches Kenneth as he’s stocking soup at his day job at Grocery Outlet, and convinces him that she is the one to go on his time travel mission with him. But the more she gets to know Kenneth, the more she likes him. She’s no longer so cynically certain Kenneth’s a nut case, and what’s more, his paranoid delusions about government agents following him might not be so paranoid after all. As Darius’s feelings about Kenneth and the story she’s investigating grow more complicated, so too do Jeff’s for Liz. At first Jeff is disappointed to see that Liz – like him – has actually changed and aged a little over the past twenty years, but as he gets to know the woman who’s grown from the girl in his memory, shallow Jeff starts to see Liz in another way.

Side stories like this can detract from the storyline of the protagonist, but here Jeff’s budding new relationship with his old love is used to enhance the underlying theme of not judging others by first appearances, and learning that even someone who might seem to be flawed in some way might still have something special to offer. The Jeff sideline is a smart choice from a writing standpoint also, in that it allows this character who would otherwise be merely an annoying one-dimensional prop to have a richness and complexity that’s often neglected in secondary characters.

What I most enjoyed about Safety Not Guaranteed, though, is a performance by Mark Duplass that made me see him as an actor in a completely different way. He’s always likable, generally funny, and undeniably talented, and yet in most of his roles there’s still that little bit of “Mark Duplass” under the surface peeking out. His turn in Safety Not Guaranteed, though, is a bit of a revelation, much more complex and layered than we’ve seen from him before. In his hands, Kenneth is quirky and funny, which you’d expect from Duplass, but he’s also deeply flawed, sad, and utterly sincere. Between this role and his role as a guy mourning his dead brother in Lynn Shelton’s Your Sister’s Sister, this is the year for me that Mark Duplass has become more than just another indie hyphenate; he’s stepping up into “seriously good actor” territory.

This is just a solid film all the way around: the strong confident direction by Trevorrow, the terrific script by Connolly, gorgeous cinematography by Ben Kasulke and some really excellent production design by Ben Blankenship and art direction by Lisa Hammond (the design work on Kenneth’s house is particularly noteworthy). Safety Not Guaranteed is a cut way, way above the average Sundance film. When it makes its way to your neck of the woods, I’m betting you’ll enjoy it a lot. Pretty much guaranteed.

2 Responses to “Sundance Review: Safety Not Guaranteed”

  1. Ken Wilson says:

    I think your assessment was right on. We saw the movie in the 1200 seat Eccles Theater in Park City, and it received a standing ovation. I look forward to seeing it again this summer when it is released.

  2. Tom Carr says:

    Truth in advertising: the director is my nephew-in-law. So I can’t truly separate “This is a really, really good movie” from “Wow — this is Colin’s movie and it’s really, really good”. But trying to focus on the objective, this is a really, really good movie.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch