No better time than over the Labour Day weekend to have a look at writer-director Ryan Schwartz’s first feature which takes the timeless thoughts, “Who am I? What am I doing here?” festering the inquisitive mind of Jesse (Carter Jenkins does a commendable job anchoring the cast even if his makeup provides few illusions about a “natural” look) to Newport Beach. Along with seven close friends including long-standing girlfriend, Lily (a finely nuanced performance from Shelley Hennig who follows Schwartz’s technique of revealing more truth with visage than actual words), Jesse and his pals share a last day of friendship before going their separate ways to colleges near and far.
At times the narrative slips into cliché (right from the voice-over git-go as Jesse communes with his deceased father via diary), but the ebb and flow as the various situations are revealed (so akin to the relentless tides rolling onto the sand) will keep most viewers engaged (and for the first 30 minutes, the skimpy swimsuits sported by the soon-to-be-freshmen rewards all those who appreciate well sculpted bodies of either sex).
Similarly, the characterizations all have the ring of familiarity, notably foul-mouthed Oscar (Matt Shively readily tosses out the crudities before effectively morphing into a compassionate lover) and bookworm, Emily (hair-up Rachel DiPillo is at one with Hilary Clinton at the same age: both women being voted most likely to succeed; hair-down DiPillo is a radiant, curly-locks beauty who deftly manages the pivotal awkward-kiss scene).
Natalie Hall is readily believable as the blonde bombshell type, Jen, while Bailey Noble falls into the heady aura of ecstasy-fuelled free love (a top, no less!) with the greatest of ease. The supplier of her drug and silent lover till now comes in the hunky form of Michael Grant, playing Aiden with just the right mix of desire and naïveté.
The dark horse in the crowd of beer guzzling, sun worshipping buds sees Nick Marini excel in the role of Bobby, employing sensitive understatement and faraway looks that add a welcome subtext of uncertainty and intrigue in the otherwise as predictable as the sun-rising-in-the-morning storyline.
Cinematographer Martim Vian has done a stellar job capturing the skin tones, waves, sunset and sleep-outside colours, hues and textures with great skill. Tobias Norberg’s original score artfully makes way for the many songs (especially “Wonder if She Knows” and “The Meaning”) which musically support the angst, love and humour which permeate the film.
Symbolism for “8” ranges from the marking of a life guard tower to a wakeup “alarm” creatively crafted by the exiting Bobby.
Here’s hoping a number of a different sort will be the glue to send the sequel into production: 75 Miles, promises to be far more than just another road movie. JWR