I LOVE MY DAD – Review

One of the annoyances of social media is when your online friends inform you that you’ve been hacked (somebody claiming to be you) on the most popular ‘social network” website. So contacting your friend list or sending out a “blanket warning” is aggravating, but things could be much worse. Nighttime crime TV shows and daytime talk shows are filled with tales of “spoofed” profiles, often leading to money “scams” and sometimes even murder. And the movies have tackled it, most prominently in 2010 with CATFISH which inspired an MTV docuseries a couple of years later and perhaps, added a new verb “catfishing”, creating a false identity to deceive someone online, into popular discussion, This week sees another feature film exploring that subject, but it’s not a documentary. Rather it’s a comedy that somehow is based on an actual incident that happened to the film’s star/writer/director. After seeing it you’ll understand the multiple meanings of the proclamation I LOVE MY DAD.

Actually, the main patriarch’s voice is the first sound we hear during an audio montage of voicemail excuses (“Sorry, I tried to make it…”, “Man, something came up at work….” “We’ll try to get together real soon.”). We then meet the recipient of those messages, recent high school grad Franklin (James Morosini) as he finishes a final group therapy session for young suicide survivors. As everyone starts to leave, Franklin tells his therapist that he will “cut off” all “toxic people who have a negative influence”, particularly his pop. When he returns to the home he shares with his single mom, Diane (Amy Landecker), he begins blocking numbers on his phone lists and people on his social network site. Cut to his papa Chuck (Patton Oswalt), who’s bored at his “cubicle drone” job. Dialing up his son, he gets an automated message. And when he goes to the “web” the screen “bounces back”. Later, Chuck complains to his work pal, Jimmy (Lil Rel Howery), who faced a similar problem not long ago. Seems his ex blocked him, so Jimmy grabbed a stranger’s photo and name, then friended her to “see what kinda’ losers she’s dating”. A seed has been planted. The next morning it begins to sprout when Chuck makes note of his sweet, pretty young server, Becca (Claudia Sulewski) at his usual breakfast spot. A quick internet search of her name and the diner leads him to her online profile. which Chuck copies and “friends” Franklin, who, after an online “chat”, takes the bait. This soon leads to hours of online conversations, Chuck ordering a “burner phone” in order to keep texting, and even virtual “cyber-sex”. But, really it’s all for the “good” so that Chuck can still be in his boy’s life. He’s got it “under control” so that nobody will get hurt. Or so he thinks…

Once again we have an example of a superb character ably stepping into a lead role..and delivering (much as he did over a dozen years ago in BIG FAN). Actually he “crushes it”, making Chuck way more than the misfit that goes too far with a bad idea stemming from good intentions. We get a glimpse of the beginnings of a great dad with the opening flashback, but life has taken its toll on him and Oswalt conveys the sweetness of a fella’ who’s just incapable of getting his sh…er…act together. We’re rooting for him as he revels in the joys of bonding with his boy, but always with the feeling of impending doom. Oswalt shows us that there’s more to his dramatic “chops’ than his (often fabulous) forays into “geekdom”. Morosoni also walks quite the acting “tightrope” as the damaged young man really hoping to start over, but full of longing that’s exploited by Chuck’s online “dreamgirl”. We revel alongside him as he begins to “open up”, though a return to his past attempts at “ending it” seems to loom nearby. Sulewski is quite captivating as the “real world” friendly server Becca and her created “riff” on the manic magic sprite that’s always there for Franklin. Landecker is very subtle but strong as the nuturing mother wanting to steer her son out of the “darkness” while giving him the proper “space” to grow and heal. Plus she’s fairly tolerant of her ex, though leery and weary of his wobbly history. Yes, Howery is playing another buddy of the lead, but he’s the needed “voice of reason” when he learns that he somehow spurred Chuck into his “mad scheme” . But his bro’ just won’t listen (“Don’t do this!! Abort! Abort! NOW!!). One of the film’s most unexpected joys is the suberb, though limited, work from the great Rachel Dratch as Chuck’s sexually aggressive “workmate” Erica. One of the big highlights is Erica’s disastrous phone exchange with Franklin as she won’t “follow the script” and dives right into “booty call basics” with “What are you wearing?” as Chuck flails his arms to no effect.

Though he’s been at the helm of several TV shows, shorts, and a feature, it’s quite an achievement for Mr. Morosini that he can juggle so much while telling such a personal and intimate tale. He keeps the story flowing while never really “stacking the deck” for his character or making others into villains. Yes, Chuck’s a screw-up, but he’s not unworthy of empathy. Like many films that utilizes modern tech, Morosini has animated “boxes” to show us a texting conversation (kind of like the comic strip “word Balloon”). But then he breaks free of that, bringing in the phony Becca in to share conversations with Franklin while invisible to all around them. It’s even more powerful in the movie’s most awkward and intimate scene as the duo takes the big “cyber step”. Yes, awkward really applies here as the movie has been rightly called a “cringe comedy” for a finale that will make many viewers wince. But the journey to that, as Chuck races to stop the “trainwreck’ he fears will happen is as suspenseful as the big action thrillers. Perhaps that’s because the gifted Morosini makes us care about all these flawed people, and has a lot to say about modern family dysfunction. And he makes us hope that somewhere down the line, well after the final fade-out, Franklin will say with sincerity I LOVE MY DAD.

3.5 Out of 4

I LOVE MY DAD is now playing in select theatres and is available as a Video-On_ Demand via most streaming apps and platforms