“Hypochondriac” informs viewers right away that it is “based on a real breakdown,” which certainly provides a new wrinkle on the now-wildly-overused “true story” proviso. Nonetheless, clarity of hindsight is not a major virtue in this adventurous first feature by writer-director Addison Heimann.
The offbeat indie drama features Zach Villa as a Los Angelean whose troubled past threatens to unravel his domestic partnership and his very sanity. The combination of gay protagonists, mental illness exploration, horror tropes, and surreal elements that gesture toward “Donnie Darko” make for an ambitious mix that holds attention, even if the uneven, somewhat muddled results are ultimately more effortful than insightful.
Following a festival tour that includes a midnight berth at SXSW and fitting slot in genre-focused Fantasia, XYZ Films will open the film in limited release on July 29, with digital and VOD release following Aug. 4.
A prologue reminiscent of 1960s/’70s post-“Psycho” chillers...
The offbeat indie drama features Zach Villa as a Los Angelean whose troubled past threatens to unravel his domestic partnership and his very sanity. The combination of gay protagonists, mental illness exploration, horror tropes, and surreal elements that gesture toward “Donnie Darko” make for an ambitious mix that holds attention, even if the uneven, somewhat muddled results are ultimately more effortful than insightful.
Following a festival tour that includes a midnight berth at SXSW and fitting slot in genre-focused Fantasia, XYZ Films will open the film in limited release on July 29, with digital and VOD release following Aug. 4.
A prologue reminiscent of 1960s/’70s post-“Psycho” chillers...
- 7/22/2022
- by Dennis Harvey
- Variety Film + TV
So many movies intended for the big screen are having to forgo it these days, it seems odd when something as apt for home viewing as “Half Brothers” makes the Covid-defying move of opening on 1,200-plus American screens. Those looking for undemanding entertainment may give it a passing grade, but or the collective viewing experience. Nor does writer-producer Eduardo Cisernos’ concept add much to culture-clash politics beyond contrivance and reinforced stereotypes. It’s a slick film that’s forgettable at best, annoyingly broad and unfunny at worst.
A 1994 prologue has engineer Flavio (Juan Pablo Espinosa) enjoying a close, playful relationship with only child Renato (Ian Inigo) in their native San Miguel de Allende. But a steep economic downturn forces dad to leave his wife (Bianca Marroquin) and son behind in order to seek work up north, along with many others. While he promises he’ll soon return, that promise is broken.
A 1994 prologue has engineer Flavio (Juan Pablo Espinosa) enjoying a close, playful relationship with only child Renato (Ian Inigo) in their native San Miguel de Allende. But a steep economic downturn forces dad to leave his wife (Bianca Marroquin) and son behind in order to seek work up north, along with many others. While he promises he’ll soon return, that promise is broken.
- 12/5/2020
- by Dennis Harvey
- Variety Film + TV
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