Review: ‘Mark, Mary & Some Other People,’ starring Hayley Law and Ben Rosenfield

June 22, 2021

by Carla Hay

Hayley Law and Ben Rosenfield in “Mark, Mary + Some Other People” (Photo by Casey Stolberg)

“Mark, Mary & Some Other People”

Directed by Hannah Marks

Culture Representation: Taking place mainly in the Los Angeles area, the sex comedy “Mark, Mary & Some Other People” features a predominantly white cast (with a few African Americans, Latinos and Asians) representing the middle-class.

Culture Clash: A newlywed interracial couple decide to have an open marriage and have to deal with the jealousy and complications that ensue.

Culture Audience: “Mark, Mary & Some Other People” will appeal mainly to people who like watching self-conscious hipster comedies with characters who are foul-mouthed, shallow, and have an annoying tendency to act as if their lifestyles are better than anyone else’s.

Hayley Law and Ben Rosenfield in “Mark, Mary & Some Other People” (Photo by Casey Stolberg)

“Mark, Mary & Some Other People” is an occasionally funny but very flawed swinger sex comedy made by and for people who want a movie where interracial spouses don’t talk about race, and Hispanics in Los Angeles are underrepresented and don’t speak. The movie is a clumsy mismatch of being very woke and very tone-deaf. The cast members who portray the swinger married couple in the film’s title are talented in their performances, and the movie does have some genuine charm here and there. (The final scene is a highlight.) But ultimately, it’s a movie that comes across as a little too smug for its own good. When it comes right down to it, this is a story about immature people who are so obsessed with appearing to be “open-minded” that they don’t see how self-absorbed they really are.

The word “woke” is often used as an insulting way for conservatives to describe people they think are too politically correct. But in “Mark, Mary & Some Other People” (which is set mainly in the Los Angeles area and takes place over a two-year period), even the “woke” characters call themselves “woke,” and they love to announce how politically progressive they are, every chance they get. But it’s the type of “wokeness” where people, who identify as progressive liberals and live in a racially diverse city, can’t be bothered to have any close friends who are black or Hispanic. To fill their “diverse friendship” quota, they might have one or two Asians in their social circle. That’s exactly what’s going on in “Mark, Mary & Some Other People,” which was written and directed by Hannah Marks. The movie had its world premiere at the 2021 Tribeca Film Festival in New York City.

In this movie, no one is guiltier of this self-congratulatory virtue signaling than Mary Lewis (played by Hayley Law), a motormouth in her mid-20s, who has to spew something politically correct every five minutes to prove how “enlightened” she is. She’s more about platitude posturing than being a well-rounded person. Mary also happens to be African American/bi-racial. One of her parents is white, and one is black, although the movie never reveals which parent is which race. Mary’s mother is dead, and her father is not mentioned at all.

Mary plays bass guitar in an all-female rock trio that keeps changing its name to things that Mary thinks will make the band sound like edgy feminists. It’s a running joke in the movie. One of the band’s names is Butter Cunt, which tells you right there what this movie thinks is funny. Because the band has no talent and can’t get any paying gigs, Mary works at various part-time menial jobs during the course of the movie. She does some speaking-voice work for places that need recordings for outgoing phone messages and PA system announcements. She also works as a housecleaner and a food server.

Mary’s husband is Mark Kenneth Sampson (played by Ben Rosenfield), also in his mid-20s, who is a “beta male” man-child that has become the stereotypical male lead character in mumblecore movies where everyone tries to outdo each other in looking like trendy, progressive hipsters. Mark is the type of person who identifies as a male feminist, which is basically a mumblecore movie way of depicting a man who is whiny, insecure, and so afraid of appearing sexist that he lets his domineering female partner treat him like crap. Mark works with his father in a vague “plastics manufacturing” job, but Mark’s father is never shown in the movie. Mark is never actually shown working at his “plastics manufacturing” job, but he is shown doing his other job as a dog walker. The movie doesn’t give any mention of Mark’s mother.

Mark is white, but the movie unrealistically shuts out any conversations that interracial couples would have about being in an interracial relationship. It’s one of the many flaws about “Mark, Mary & Some Other People,” which goes out of its way to be frank and detailed (often to the point of monotonous vulgarity) about many other aspects of sexual attraction, dating and marriage, except for race. It’s almost as if writer/director Marks and the other filmmakers thought that having an interracial couple as the main characters would be enough to fulfill their racial diversity checklist, and they want to pretend that racism and discussions about race simply don’t exist in a world that they decided to center on an interracial couple.

Mary will lecture people all day long about sexuality and gender politics, but her refusal to talk about race actually makes her look very phony and willfully ignorant. What kind of progressive liberal who’s supposed to care about social justice doesn’t want to talk about race? A hypocrite like Mary, who wants to live in a delusional bubble where she floats through life and doesn’t want to deal with a messy topic such as racism, even though she’s someone who has inevitably experienced racism. It should come as no surprise that Mary doesn’t have any black friends. (Sex partners who are treated like disposable sex toys don’t count as real friends.)

Women of color who are written this way in movies and TV shows are usually written by people who have no idea what it’s like to be a woman of color. And so, in this movie where one of the two main characters is black, “black culture” is avoided, ignored or sidelined. That’s probably why “Mark, Mary & Some Other People” is the type of movie where the only African American people who have speaking roles in the movie (two women) are light-skinned, bi-racial people. There are less than a handful of Hispanic/Latino and dark-complexioned African Americans who get listed actor credits in the movie, and they’re really just extras: They don’t speak, they’re nameless characters in the movie’s many hookup scenes, and they’re on screen for less than 30 seconds each.

And it’s why this movie that tries so hard to look progressive and “woke”—as these swingers accumulate sexual conquests throughout Los Angeles County—is shamefully out-of-touch and backwards when it comes to representing what the population of Los Angeles County actually looks. This movie is set in Los Angeles County, where 48.6% of the population identify as Hispanic/Latino, according the U.S. Census Bureau’s 2010 statistics. That number is expected to be higher when the U.S. Census Bureau’s 2020 statistics are announced.

But the filmmakers of “Mark, Mary & Some Other People”—who probably want the world to think they’re open-minded and progressive, based on how the movie’s characters talk—couldn’t be bothered to give any Hispanic/Latino actors any speaking lines in this movie that takes place in a county where nearly half the population is Hispanic/Latino. When people say that Hispanics/Latinos are underrepresented in American-made movies, “Mark, Mary & Some Other People” is an example of this problem. Filmmakers who act like they’re progressive liberals need to do better in practicing what they preach.

It isn’t nitpicking to bring up the races/ethnicities of this movie’s cast members, because this entire movie is relentlessly “in your face” about the characters (especially the main characters) being progressive liberals. Therefore, it would be foolish and (quite frankly) irresponsible not to point out this movie’s hypocrisy, flaws and blind spots when it comes to the very same issues. People who live in certain “bubbles” probably won’t notice these flaws, because they’ll be too enamored with the self-approving hipster dialogue and titillation of seeing a swinger lifestyle depicted in a movie.

But “Mark, Mary & Some Other People” has a lot of flaws, such as showing how obvious it is that Mark and Mary are very mismatched from the start. For a movie like this to succeed in resonating with adults (this movie’s intended audience), audiences should be rooting for the couple to be happy and supportive of each other—not spending most of the movie cringing and hoping that the couple will break up, so the couple won’t keep wallowing in the misery of jealousy, power struggles and incompatibility that are all over this relationship.

Every movie about a couple with an “open relationship” ends up being about how they handle jealousy over other sex partners. The trick is in keeping people guessing on whether or not the couple will stay together. Unfortunately, “Mark, Mary & Some Other People” telegraphs very early on how immature and messy Mark and Mary are in relationships, because Mark and Mary don’t even seem to like themselves very much. People with enough life experience will notice this low self-esteem right away, while people with less life experience might have more of a fairy-tale perspective of love and sex.

“Mark, Mary & Some Other People” doesn’t waste time with Mark and Mary’s “meet cute” moment because it’s the very first scene in the movie. Actually, it’s more like a “re-meet cute” moment, because it’s not the first time that they’ve met, although only one of them immediately remembers where they previously met. Mark and Mary, who both live in the city of Los Angeles, see each other at a convenience store. Mark shows an instant interest in her, while it takes Mary a little longer to show she’s attracted to him.

Mark and Mary met before, when they attended the same college (which is unnamed in the movie), but Mary doesn’t remember Mark at first because he was a lot heavier in college than he is now. The movie doesn’t have flashbacks. Anything that happened before this story takes place is described in conversations.

At the convenience store, Mark notices that Mary is buying a pregnancy test, but she hastily tells him that the pregnancy test isn’t for her. (It’s an obvious lie.) After Mark checks out Mary’s rear end, he immediately asks her to go to a smoothie place with him on a date.

She says yes, and during their conversation at the smoothie place, Mary admits that the pregnancy test is for her. Mark expresses disappointment that Mary might already be in a committed relationship, but she assures him that she’s very single and available. She also tells him up front that she’s sexually interested in men and women, because she mentions a woman whom she describes as a former lover of hers.

“Mark, Mary & Some Other People” then takes an “only in a movie” turn when Mark tells Mary that it just so happens that he’s working with his father on an invention where pregnancy test results can come from saliva, not urine. It’s a very far-fetched part of the movie that will have viewers rolling their eyes in disbelief if they know anything about human biology. The movie wants us to believe that human salivary glands are somehow connected to the urethra, but it’s just an example of how dumb the filmmakers expect this movie’s audience to be.

Unfortunately, this salivary pregnancy test isn’t a random joke. It’s depicted as very real in this movie, and it becomes a big part of one of the movie’s pivotal scenes. A salivary pregnancy test is actually an unnecessary medical invention for this story, and it’s a bizarre twist to Mark’s “plastics manufacturing” job. Maybe the filmmakers were inspired by Elizabeth Holmes and Theranos, because there’s a concerted and almost laughable effort to make this salivary pregnancy test look convincing.

Mark is very nerdy and eager to impress. Mary is very manipulative and notices these personality traits in Mark, so immediately she figures she can have the upper hand in the relationship. When Mark asks her if he can have her phone number, she plays hard to get. Then, she tests Marks boundaries by telling him that he can have her phone number if he goes in the smoothie place’s public restroom with her while she takes the pregnancy test. He hesitates at first, but then obliges. Yes, that it’s that kind of movie.

It should be noted that there’s no nudity in “Mark, Mary & Some Other People,” which might be director Marks’ way of avoiding criticism of being exploitative in a movie filled with sex. However, no filmmaker should get extra praise for not having nudity in a sex-oriented movie. The movie should be judged on other things, such as the quality of directing, writing and acting.

When Mark and Mary go into the public restroom, he shows that he’s a gentleman by not looking her while she urinates. It should come as no surprise to the audience when Mary finds out that she’s not pregnant, because having a pregnancy would get in the way of the swinger antics that this movie is using as a hook to get an audience. And it’s also not surprising that someone like Mary—who manipulates a guy on a first date to go in a public restroom with her while she urinates for a pregnancy test, just so he can get her phone number—is someone who’s kind of nasty and very insecure.

It sets the tone for the relationship though: Mary is the one who comes up with the ideas that make Mark uncomfortable, and she makes him think he’s too uptight if doesn’t say yes to the ideas. She’s not bossy about it, but she’s very skilled at knowing people’s weaknesses and pushing those buttons. And she’s one of these people who gives off a conceited attitude of “I’m better than you because I’m so woke and trendy.”

It will ultimately turn a lot of viewers off from Mary, who is not a genuine free spirit who will let people be who they are. She won’t back off when Mark expresses discomfort with what she wants to do. She acts like she really won’t approve of someone and that person will make her unhappy unless they conform to what she wants at all times. And for someone like Mark, who’s obviously less experienced at dating than Mary is and desperate for someone to love him, he’s an easy target.

Case in point: When the movie fast-forwards about a year after Mark and Mary’s first date, Mark and Mary are getting married, and Mary has to be the “woke police,” even during their elopement wedding. Mark and Mary are at a cheap-looking wedding chapel in an unnamed city, where they are getting married. In another example of how this movie stumbles on realistic details, the only people at this wedding ceremony are Mark, Mary and the guy who’s marrying them. There are no other witnesses, which would be required to make the ceremony legal.

After Mark and Mary say their wedding vows, the wedding officiator says, “You may now kiss the bride.” Mary starts complaining and asks why that statement is male-centric because it gives the man the power to initiate the kiss. Mary begins ranting that no one ever says, “You many now kiss the groom” at wedding ceremonies where a man and woman get married. The wedding officiator says he doesn’t know the answers, but “You may now kiss the bride” is in his wedding script, and he’s just doing his job. But that answer doesn’t make Mary happy. (Almost nothing seems to make her happy, which is why Mary is so insufferable.)

Mary nags at the wedding officiator to change the wording to “You may now kiss the groom,” or else she won’t kiss Mark. Just to get this miserable shrew off of his back, the wedding officiator obliges, and probably feels relieved when these newlyweds leave so he doesn’t have to deal with her again. Mary and Mark spend their honeymoon at the Madonna Inn (a famously kitschy lodging in San Luis Obispo, California), where they take psychedelic mushrooms, with a typical mumblecore movie montage of them having drug-induced hallucinations during their honeymoon bliss.

If it was the filmmakers’ intention to make feminism look cool, the end result is just the opposite in this movie. Mary is supposed to embody modern feminism in this movie, but she’s just a pretentious brat who makes real feminists (and women in general) look bad. The only genuinely feminist thing about this movie is that it shows how women can be just as sexually active as men and shouldn’t have to make any apologies for it.

Mark isn’t going to win any Personality of the Year awards either. And he comes across as less-than-smart. After knowing that Mary is the type of person who thinks it’s unrealistic to be monogamous, and he married her anyway, he’s shocked and angry when she brings up the idea that they should have an open marriage. Did he honestly think she would suddenly want to be monogamous, just because they got married? A lot of people make this mistake of thinking a spouse will change fundamental things about their character, just because of a marriage certificate.

Mary pretentiously describes having an open relationship, or swinging, as “ethical non-monogamy.” Perhaps Mark and Mary can contact Chris Martin and Gwyneth Paltrow (who famously called their divorce a “conscious uncoupling”) to come up with some more self-important and pompous-sounding names for relationship situations that can turn messy. And it does get messy, as it always does when couples bring other lovers into their lives.

This is the type of conversation that Mary and Mark have when Mark gets angry at Mary for suggesting that they try an open marriage. As Mark sulks, Mary says, “You’re being immature.” Mark replies, “Well, you’re being a whore.” 

Mary wonders out loud if it was the wrong time to bring up the subject of open marriage. Mark tells Mary why he’s so offended that Mary wants to have sex with other people during their marriage: “It’s not about you bringing it up. It’s that you’re thinking about it at all.” Apparently, Mark was under the delusion that Mary would change her “monogamy doesn’t work for me” mindset after they got married.

Mary has, in fact, chosen the wrong time to ask Mark to be swingers, because it’s shortly before they go to a costume party, where a furious Mark decides to show Mary that he’s going to immediately find a new lover. He gets drunk, picks up a pretty blonde named Bunny (played by Kelly Berglund), and goes back to her place. The sexual encounter is awkward because Mark starts crying out of guilt and has some “performance issues.”

At the same party, a jealous Mary sees that Mark is trying to seduce Bunny, so she picks up a willing man, and spends the night with him. That encounter is never seen in the movie, but Mary is shown waking up the next morning in a messy van and getting dressed by herself. She’s crying, with a look of regret and misery on her face.

When Mark and Mary see each other again, they burst into tears and tell each other how sorry they are for what happened. (There will be more tears later in the story.) And they decide to set the rules of this new arrangement in their marriage.

After some hemming and hawing during rules negotiations, Mark and Mary agree on some fundamental rules: (1) No sex with an ex-lover; (2) No oral sex with anyone outside the marriage; (3) Always practice safe sex; and (4) If anyone in the marriage wants to stop having an open marriage, they will stop.

Mark tells Mary that this last rule is the most important one to him. He says of this “open marriage” arrangement: “This is a trial run. This is not forever thing. This is a ‘see if we like it’ thing. And if one of us doesn’t like it, we can go back to being us.”

Easier said than done. There are a few other rule negotiations that aren’t as firmly resolved. Mark and Mary make a tentative agreement to limit their sexual ecounters with other people to four sexual encounters per person, although Mary seems to want to leave it up to negotiation in the future to increase it to five.

Mark and Mary don’t agree on how much they should tell each about their sexual encounters outside the marriage. Mark doesn’t want to hear details (such as the names of the lovers and what kind of sex they had), while Mary says she wouldn’t mind hearing details. They agree to disagree on that subject.

When the subject of threesomes comes up, Mary refuses to consider having a threesome with Mark, unless there’s gender equality with the third partner. Mary insists that if she and Mark have a threesome with another woman, then at another time, Mark and Mary need to have a threesome with another man. Mark is very reluctant to agree to a threesome involving another man, because he says he’s not comfortable with having any type of sex with a man.

However, Mary shames Mark into thinking that he’s homophobic if he doesn’t agree to these terms. He gives in to her demands and promises her that if they have a threesome, it will be with a man and a woman on separate occasions. In this particular negotiation, Mary isn’t thinking about what will make her and Mark happy. She’s only thinking about herself and getting her way.

This type of sexual manipulation is an example of how annoying and aggressive Mary can be with her “wokeness.” She doesn’t understand that just because someone doesn’t feel like ever having sexual relations with someone of the same gender, it doesn’t automatically make that person homophobic. Mary’s view on this matter is very narrow-minded and ignorant.

It’s simple courtesy and respect among sex partners: Don’t pressure people into doing something that don’t feel comfortable doing. Mary doesn’t have a grasp of that concept when she tries to make her husband feel “old-fashioned” and “uptight” if he doesn’t agree to what she wants.

Viewers won’t feel too sorry for Mary when her plan to show “old-fashioned” and “uptight” Mark how an open relationship works ends up backfiring on her when he starts to like polyamory a little too much for her comfort level. There are some very predictable things that happen regarding pregnancy and STD concerns. And there’s the inevitable jealousy and partner mistrust that a lot of swingers think they’ll be immune to, but it’s a lifestyle hazard of being a swinger that some people are more honest about than others.

One of the ways that the movie shows that Mark and Mary aren’t entirely comfortable with this open marriage arrangement is that they almost always get drunk and/or high to have sexual encounters with other people. Mary brought up the idea of open marriage to Mark only after her band’s lead singer/guitarist Lana (played by Odessa A’zion), who is by far the most obnoxious character in the movie, called Mary a “crusty married person.” Lana made this comment during a conversation where Mary confessed to a fear of being perceived as old and boring, now that she’s married.

The implication is that Mary is so caught up in projecting an image of being a progressive hipster that she lets a stupid comment like being called “a crusty married person” affect her self-esteem. Observant viewers will see that Mary doesn’t genuinely know if she’s ready for a swinger lifestyle. And this is where the movie does have some authenticity: A lot of people don’t have their lives figured out yet in their mid-20s, and this movie isn’t trying to pass judgment. Most of the characters in this movie are in their early-to-mid-20s, which goes a long way in explaining why many of them are so emotionally immature. 

The open marriage arrangement has its ups and downs in Mark and Mary’s relationship. As time goes on, it’s pretty clear that this couple’s biggest problem is how ineffectively they communicate. They argue about things that they obviously didn’t talk about before getting married. It’s one of many examples that this couple is a train wreck.

And in one of the screenplay’s big flaws, it never gives any indication that Mary was ever interested in meeting Mark’s father or anyone else in his family, even though Mark works with his father, who presumably lives nearby. Viewers will have to assume that Mary is just too self-absorbed to bother with meeting any of Mark’s loved ones. And based on her actions throughout this entire story, that assessment is accurate.

By contrast, Mark has met the two relatives of Mary who are shown in the movie: Mary’s younger sister Tori (played by Sofia Bryant), who is the drummer in Mary’s band, and Mary’s aunt Carol (played by Lea Thompson, in a cameo), who is depicted as a cynical, eccentric, queer woman with years of experiences as a swinger. Unlike Mary, Tori is down-to-earth and isn’t caught up in trying to look like she’s the queen of the progessive hipsters. Mark admits that Carol intimidates him, but he gets along with Tori just fine.

Tori and Mary briefly discuss their mother in one scene that gives no insight into how long their mother has been dead or her cause of death. It’s hinted that their mother was also a progressive liberal, but Tori and Mary believe that their mother probably would have hated Mark and his unflattering moustache. Maybe this conversation is this movie’s way of saying that even Mary and Tori’s dead mother would know what a mistake it was for Mark and Mary to get married.

Tori and Mary are such a part of each other’s small social circle that Tori ends up dating one of Mark’s two best friends who are shown in the movie. Tori’s boyfriend is AJ (played by Matt Shively), who’s kind of a stereotypical meathead. AJ identifies as straight. Mark’s other best friend is Kyle (played by Nik Dodani), who’s kind of a stereotypical sassy queer guy. Kyle identifies as bisexual. And apparently, Mary’s social circle consists of her husband, her band and her husband’s two best friends.

And that’s why Mark and Mary use a dating app called Crush’d to meet potential new sex partners. They even take photos of each other for their online profile pics, in a photo session montage that’s supposed to Mark and Mary look adorable. It comes across as trying too hard.

Mark suggests this photo session after he’s alarmed to see the original profile pic that Mary wanted for herself: Mary licking a large knife that appears to have blood on it. Mary thinks she looks hot and unique in that pose. Lindsay Lohan did that whole “look at me, I’m licking a large knife” gimmick back in 2007. Get over yourself.

For a movie about a married couple navigating a swinger lifestyle, it’s somewhat ironic that the funniest scenes in the movie aren’t even about Mark and Mary as a couple. Some of the best comedic scenes in the movie are with AJ and Kyle, as they have bickering banter when they’re by themselves. Sometimes AJ and Kyle act more like a married couple than Mark and Mary do.

Fair warning to anyone who hates hearing the derogatory slur that’s used the most against gay/queer men: There’s a scene where Kyle says that “f” word several times, and he says he’s allowed because he’s part of the LGBTQ community. It’s not the best scene between AJ and Kyle. And frankly, hearing that word used so gratiutously is not funny. There are other scenes with AJ and Kyle that are much better-written and should get big laughs. 

Someone who’s a lot less endearing is Lana, who identifies as queer and has the maturity of a 12-year-old. There’s a scene that’s a comedic dud where Lana gets into an argument with a next-door neighbor named Chris (played by Joe Lo Truglio), who’s upset because the band is rehearsing too loudly. It’s a valid complaint, especially since this band is terrible. Instead of being reasonable about it, Lana just shouts, “Fuck you!” It turns into a shouting match where Chris and Lana shout “Fuck you” back and forth for way too long. It’s tedious and lazy screenwriting.

The movie is divided into chapters introduced by cutesy and colorful graphics that look like something from a 1990s mumblecore movie that was influenced by the 1970s. It’s all so self-consciously twee. But it’s overly staged when so much of this movie is just gutter-mouthed and raunchy. And there’s nothing inherently wrong with wanting to be romantic and vulgar, but not many films can successfully achieve a balance of being both.

Gillian Jacobs has a cameo, as Mary’s gynecologist Dr. Jacobs, that’s also amusing, but a little one-note in the gag. Mark and Mary’s sex partners/dates aren’t given enough screen time to show any real personalities, except for the movie’s final scene that involves two people named Alexandra (played by Haley Ramm) and Aaron (played by Pete Williams). Most of the movie is about the neurotic reactions of Mark and Mary when they find out that having a swinger lifestyle creates more chaos in their marriage than they thought it would.

The movie also falls into the same predictable tropes of swinger sex comedies about a man and a woman who decide to have any open relationship: Any queerness almost always has to be from the woman, so the man can get his girl-on-girl sexual needs fulfilled. But when it comes to the man possibly being queer or willing to have a sexual experience with a man, there’s a lot of cringing and hesitation from the man.

“Mark, Mary & Some Other People” follows this trope too, although one mid-credits scene is a half-hearted and very tame attempt to distance the movie from that trope. Let’s put it this way: The movie spends a lot more screen time making it clear that Mary has sex with other women, while making it very ambiguous if Mark actually goes through with his promise to have sex with a man during a threesome.

People who’ve watched enough of these types of movies can see that the filmmakers seem afraid of alienating the privileged, cisgender, heterosexual male audience that they want to attract to give this movie “indie cred” praise. And that’s why there’s no actual sex between men that’s depicted in the movie. However, the movie’s “woke” characters, such as Mary, sure love to vilify cisgender, heterosexual men as society’s biggest “oppressors.”

Rosenfield and Law show some very good comedic timing in their roles as Mark and Mary. It’s too bad that their characters are such a horrendous mismatch of personalities, it’s kind of repugnant to watch Mark and Mary’s imcompatibility. It also gets tedious to watch two people in a marriage when their relationship becomes a competition to see who can outdo each other in being the more sexually adventurous partner. 

Except for sexual attraction, there’s not much that Mark and Mary see in each other, because they sure don’t talk about anything substantial that shows they’re in this marriage for the long haul. Mary is hard to take with her politically correct preaching over the most trivial of things. Mark is just a hypocritical whiner who lacks common sense. Anyone who thinks that Mark and Mary are a great couple probably has a distorted view of what a healthy relationship is.

Here’s an example of how Mark and Mary are terrible at communicating: There’s a scene where, after Mark and Mary have agreed to have an open marriage, Mark notices that the bedsheet on their bed has been stained with sexual activity from Mary and an unknown lover. He rips the sheet off in disgust, as if he’s shocked that Mary could possibly have sex with someone else in their bed. 

It turns out that in their first rule negotiations, Mark and Mary never discussed where they would be allowed to have sex with other people. And this is after Mark said he didn’t want to know the details of Mary’s sexual encounters outside the marriage. If he had any common sense, it should have led to him to say that they couldn’t bring any lovers to their home, because of the very real likelihood that he’d see things he doesn’t want to see.

Mark finding the stained bedsheet was really just a means to create another cutesy titled chapter about Part 2 of Mark and Mary’s rules negotiations. Yes, Mark and Mary are young, but they’re not children. However, watching “Mark, Mary & Some Other People” feels like you’re watching people who are stuck in a selfish teenage mentality and who are pretending to be emotionally mature adults. No thank you.

Vertical Entertainment will release “Mark, Mary & Some Other People” on a date to be announced.

Review: ‘Come Play,’ starring Gillian Jacobs, John Gallagher Jr., Azhy Robertson and Winslow Fegley

October 30, 2020

by Carla Hay

John Gallagher Jr., Azhy Robertson and Gillian Jacobs in “Come Play” (Photo by Jasper Savage/Amblin Partners/Focus Features)

“Come Play”

Directed by Jacob Chase

Culture Representation: Taking place in an unnamed U.S. city, the horror film “Come Play” has a predominantly white cast (with some African Americans) representing the middle-class.

Culture Clash: A mute autistic boy comes across a mysterious computer app where a sinister creature named Larry wants to make a human friend.

Culture Audience: “Come Play” will appeal primarily to people who like horror movies that have a simple story, good visual effects and scares that aren’t very bloody or gruesome, but other viewers might be easily bored by the repetitive nature of this story.

Gavin MacIver-Wright, Winslow Fegley, Azhy Robertson and Jayden Marine as “Mateo” in “Come Play” (Photo by Jasper Savage/Amblin Partners/Focus Features)

“Come Play” is the type of horror movie that would have been better off as a short film. Although “Come Play” benefits from better-than-average performances from the movie’s main actors, and the final third of the film is the most impactful, the movie’s concept ultimately stretches too thin for a feature-length film. There are too many long sections of the movie that become repetitive and dull before the climactic “showdown” scene. “Come Play” will also draw inevitable comparisons to writer/director Jennifer Kent’s far-superior 2014 horror film “The Babadook,” a movie that’s also about a sinister creature that lives in the pages of a children’s story, and the creature can transport itself into the world when people read the story.

Written and directed by Jacob Chase, “Come Play” (which is based on Chase’s short film “Larry”) demonstrates that he has a good eye for creating the right spooky atmosphere in the right places. The casting for this movie is also well-done. However, the first two-thirds of the film are essentially a repeat loop of a mute kid trying to convince his parents that an evil monster lives in a spooky story app that keeps showing up mysteriously on his computer tablet and phone. His frustration over not being believed becomes tedious to watch after a while, because it doesn’t progress the story until one of his parents start to believe him more than the other parent.

The 8-year-old child at the center of the story is Oliver (played by Azhy Robertson, in a terrific performance), who is autistic and mute. Oliver communicates through a talking computer device that can say the words that he selects. Oliver’s autism has not prevented him from going to a regular public school, but in the beginning of the movie, it’s shown that he is an outcast and a loner at school.

Oliver’s well-meaning parents are Sarah (played by Gillian Jacobs) and Marty (played by John Gallagher Jr.), who end up separating during this story. Their separation had already been decided before this story took place, and there are hints that Marty is going to be the one who moves out of the house. In the opening scene, Marty is sleeping on the couch, while Sarah is sleeping alone in their bedroom. And there are some packed boxes in the living room, as if he’s already started his move out of the home.

Oliver doesn’t know yet that his parents have decided to split up when he first encounters the creepy monster named Larry. The creature is a skeletal, hunched-over figure that Oliver first sees as an illustration in a children’s story app called “Misunderstood Monsters” that shows up on his computer tablet one night when he’s lying awake in bed. As Oliver swipes through the pages of this story, he sees these words: “This is Larry. Larry never gets to play pretend. He gets made fun of because he’s different. Larry just wants a friend.”

When Oliver gets to another page screen on the tablet, the lights suddenly go off in his room and in the hallway outside of his room. And then he hears the sound of dragging footsteps that get closer and closer, until he screams. And then, Oliver’s mother Sarah comes in the room and tells Oliver that he must have had a nightmare.

The pattern happens every time someone looks at the “Misunderstood Monsters” app and reads Larry’s story. The only variations are when Larry “appears” or seems to appear, Larry sometimes does something a little different. Larry might be crouched in a corner of the living room or kitchen. Larry might be lurking in a hallway. Eventually, it’s revealed that when any computer device with the Larry story is aimed right at Larry, the creature can only be seen on the device’s camera.

When the Larry creature is shown in its full-body entirety, the visuals effects are fairly good, but not uniquely impressive enough, considering that the “skeleton man” archetype has been used before in many other horror movies. But since “Come Play” isn’t a gory horror movie, Larry doesn’t seem to be a vicious murderer. If he does want someone to play with, how is that going to happen?

Even if Oliver tries to stop using his computer tablet and hides it, Larry has a way of coming back into Oliver’s life. Marty works the late shift as a security guard in an outdoor parking lot. For whatever reason, in one of those “only in a movie” coincidences, Marty sees a computer tablet that was in the lost-and-found bin at his work station. This tablet has the Larry story on it, and Marty starts reading it while he’s on the job. Several lights in the parking lot suddenly go out. And then, cars in the parking lot start blink their lights or mysteriously revving their engines.

Marty thinks it’s a freak electricity malfunction, but viewers of “Come Play” know better. Marty brings home the computer tablet and gives the tablet to Oliver as a replacement for the one that Byron threw away in the field. And with that, Larry is back in the family home and back in Oliver’s life.

The plot of “Come Play” is a little too flimsy to be sustained with these mild scares. It’s not a spoiler to reveal that the movie never really explains why Larry has targeted this family, although viewers can assume that Oliver’s “outcast” loneliness might have been what attracted Larry. At one point in the story, Larry tells Oliver through computer language: “Your parents want you to be normal. I just want to be your friend.” Oliver is the first one in the family to see Larry, but eventually, Oliver’s not the only one.

Even though there are some Larry moments that are genuinely creepy, there’s absolutely no context of how Larry came into existence and how long Larry has possibly existed. The simple plot of this movie really is that a monster comes after a boy, who has a hard time convincing his parents and everyone around him that what he’s experiencing is real. The adults predictably think that Oliver just has an active imagination.

And then there’s the cliché horror subplot of a bully who gets a comeuppance. Oliver is bullied by a brat named Byron (played by Winslow Fegley), who is in the same class as Oliver at school. One day, Byron and two of his cronies—Zach (played by Gavin MacIver-Wright) and Mateo (played by Jaden Marine)—lure Oliver into a deserted field. After some taunting and roughing up of Oliver, who calls Byron “ugly” in response, Byron gets so angry that he takes Oliver’s talking device and throws it so far into the field that Oliver can’t find it.

Why does Byron seem to hate Oliver so much? It turns out that Byron and Oliver used to be best friends, but they had a falling out, and Byron still has a lot of resentment over it. Bryon’s mother Jennifer (played by Rachel Wilson) was also a close friend of Sarah’s, but when their sons stopped being friends, Jennifer and Sarah grew distant from each other too. The details of these estrangements are revealed later in the film, because it’s the catalyst for the story’s more sentimental emotional moments.

After the bullying incident in the field, Sarah decides the best way to end the bullying is to try to get Byron to become friends with Oliver again. Sarah invites Byron to come to their house for a sleepover with Oliver, but Byron will only accept the invitation if he can bring Zach and Mateo with him. It’s during this sleepover that Byron, Mateo and Zach find out about Larry the monster.

Sarah isn’t just trying to repair Oliver’s relationship with Byron. She’s trying to improve her relationship with Oliver. As a homemaker, Sarah spends more time with Oliver than Marty does, and that becomes even more so after Marty moves out of the house. Sarah is the one who accompanies Oliver to his speech therapy sessions, while Marty makes excuses not to go or he has work commitments that prevent him from being there.

Sarah is also the parent who’s more of a disciplinarian, while Marty tends to be more lenient with Oliver. Therefore, Sarah thinks Oliver loves her less than he loves Marty because she’s not the “fun” parent. It’s caused some long-simmering resentment that Sarah has toward Marty, although it’s unclear how much this resentment has caused their marriage to deteriorate. In fact, it’s never really explained why Sarah and Marty broke up, but apparently, the breakup was a long time coming.

It’s an example of how parts of this story are too vague and why this movie would’ve worked better as a short film. A feature-length film can and should have time for more context so viewers can have better insight into the characters’ personalities. Jacobs and Gallagher are very good in their roles, but their characters are just a little too generic for this story.

As for Robertson, he’s by far the best aspect of this movie. Because Oliver is mute, Robertson has to do a lot of acting with his wonderfully expressive face. And even though his character doesn’t use his mouth to talk, Robertson is still able to convey a lot of emotions that will endear people to Oliver. It’s refreshing to see an autistic character portrayed in a way that is poignant yet not exploitative.

Unfortunately, by the time the action really heats up by the end of the film, it’s somewhat diluted when Sarah and Oliver are hiding under a bed and are supposed to be quiet, but then Sarah uses that moment to have a whispered heart-to-heart talk with Oliver. It doesn’t make sense to drop this conversation in the moment where they’re supposed to be the most silent. Even though “Come Play” has a touching message about the strength of a mother’s love, that message is not enough to overcome all the time that’s wasted where not much happens in the movie except a slightly varied rehash of several other scenes.

Focus Features released “Come Play” in U.S. cinemas in October 30, 2020.

Review: ‘I Used to Go Here,’ starring Gillian Jacobs, Jemaine Clement, Josh Wiggins, Hannah Marks, Forrest Goodluck, Zoë Chao and Jorma Taccone

August 12, 2020

by Carla Hay

Gillian Jacobs and Jemaine Clement in “I Used to Go Here” (Photo courtesy of Gravitas Ventures)

“I Used to Go Here”

Directed by Kris Rey

Culture Representation: Taking place in Illinois, the comedy/drama film “I Used to Go Here” features a predominantly white cast of characters (with some Asians, one African American and one Native American) representing the middle-class.

Culture Clash: A Chicago-based writer in her 30s, who’s going through some issues in her career and personal life, is invited to be a guest speaker at her university alma mater, where memories of her college experiences make her feel insecure about her current life. 

Culture Audience: “I Used to Go Here” will appeal mostly to people who like realistic independent dramedies about life during and after college.

Josh Wiggins, Gillian Jacobs, Khloe Janel and Forrest Goodluck in “I Used to Go Here” (Photo courtesy of Gravitas Ventures)

Anyone who has ever been to a class reunion, gone back to visit a school they used to attend, or had a conversation with a former classmate after years of not speaking to each other can probably relate in some way to the low-key but engaging comedy/drama film “I Used to Go Here.” Written and directed by Kris Rey, “I Used to Go Here” goes on an emotionally authentic journey with someone who is reminded of the hopes and dreams she had in college, as she comes to terms with how her life has turned out so far.

The movie opens in Chicago, where writer Kate Conklin (played by Gillian Jacobs), who’s in her late 30s, is on a conference call getting some bad news from two people who work for her book publisher. Her first novel, a love story titled “Seasons Passed,” has recently been published, but sales have been disappointing. As a result, her book tour has been cancelled.

The book representatives give Kate a glimmer of hope by telling her that The New York Times will be publishing a review of the book. If the review is positive, Kate’s book tour could be resurrected. They assure her that the book’s commercial failure has a lot to do with declining book sales in general, but something about the patronizing tone in the voices indicates that it’s a canned comment that they tell authors whose book sales are flopping.

In the meantime, Kate (who is single and has no children) is experiencing some breakup blues. She’s not completely over the end of her relationship with her former fiancé Michael, who used to live with her. (It’s never revealed in the movie why they broke up or how long they were together.)

When Kate goes through some of her mail at her apartment, she sees that Michael has gotten some junk mail delivered to the address. And she uses it as an excuse to call him. She gets his voice mail and leaves a message to tell him that he’s still getting “important” mail at her address, and she asks him to call her back because “it would be nice to talk to you.”

As if it isn’t made clear enough that Kate is supposed to look like a sad and lonely spinster, there’s a scene of her looking forlorn at a baby shower where she seems to be the only woman there who isn’t a wife or mother. Someone asks Kate to get in a photo with three pregnant woman at the party, and she uncomfortably agrees to be in the photo.

One of the pregnant women is Kate’s close friend Laura (played by Zoë Chao), who has known Kate since their college days at the fictional Illinois University in Carbondale, where Kate graduated 15 years ago. (The real-life university in Carbondale is Southern Illinois University.) Throughout the movie, Kate and Laura call each other to give updates on their lives and provide emotional support for each other.

Not long after her book tour has been cancelled, Kate gets some good news that lifts her spirits: David Kirkpatrick (played by Jemaine Clement), her favorite professor from Illinois University, has called to invite her to be a guest speaker at the university, where she will do a lecture that includes reading excerpts from “Seasons Passed.” Kate was in David’s creative writing class in the first year that he was a professor, and she was his star student. Kate is flattered by the invitation and immediately says yes.

Carbondale is about 330 miles from Chicago, so the university provides for Kate’s travel and living accommodations during her visit. They arrange for Kate to have an on-call driver: a friendly and nerdy student named Elliot (played by Rammel Chan), who seems to be attracted to Kate when they first meet. When Elliot genuinely tells Kate that he’s a big fan of her, he does so in a sweet and endearing way, not in a creepy or stalker-ish way.

The university has arranged for Kate to stay at a bed-and-breakfast house that happens to be directly across the street from the house where Kate used to live when she an Illinois University student. The woman who owns the bed-and-breakfast house is named Mrs. Beeter (played by Cindy Gold), who has a cold and abrupt demeanor when she tells Kate the “house rules.”

One of the rules is that Mrs. Beeter gives guests only one set of keys. If the keys are lost, the guest might be locked out of the house. Mrs. Beeter has the keys on a lanyard, and she insists that Kate wear the lanyard to decrease the chance of the keys getting lost. It’s at this moment that viewers can predict that Kate will at some point lose the keys and be locked out of the house.

When Kate meets up with David on campus before her guest lecture, it’s clear that there’s some mutual but unspoken attraction between them. Shortly after they begin talking, a woman comes over to David, and he introduces her as his wife, Alexis (played by Kristina Valada-Viars), whom he’s been married to for five years. The disappointed and surprised look on Kate’s face indicates that she was hoping that David would be single and available.

Kate and Alexis exchange pleasant “nice to meet you” talk. Alexis tells Kate, “David talks about you all the time.” David, looking slightly embarrassed, says: “Well, not all the time.” It’s another sign of some underlying feelings that David might have toward Kate.

Kate’s lecture, which was hosted by the university’s creative writing department, goes fairly well, despite Kate’s initial nervousness. Afterward, David invites Kate to have dinner with him and Alexis. Some tension in Alexis and David’s marriage starts to show when David blurts out that Alexis doesn’t like Kate’s book “Seasons Passed.”

It’s now Alexis’ turn to be embarrassed, and she reluctantly admits that she didn’t feel emotionally connected to the book after reading it. Kate graciously accepts the criticism, but the negative feedback makes Alexis uncomfortable enough that she excuses herself to go to the ladies’ room. Before Alexis leaves the table, she calls David an “asshole” in front of Kate, who gives Alexis a knowing smile, as if to say, “I know he can be a jerk too.”

While Alexis is in the restroom, David tells Kate that there’s an opening in the university’s creative writing department, and he wants to recommend her for the job if she’s interested. David is very eager for Kate to become his co-worker, but she’s not ready to make that decision right then and there, so she doesn’t give an answer.

The next day, Kate is taking a selfie in front of the house she used to live in as a college student, when one of the house’s residents comes out and introduces himself. His nickname is Animal (played by Forrest Goodluck), and when she tells him that she used to live there when she was a college student, he invites her inside. During her nostalgic tour of the house, she meets two other housemates: socially awkward Tall Brandon (played by Brandon Daley) and self-assured Hugo (played by Josh Wiggins).

Hannah marvels at how some of the unique touches that she put in the house (decorating one of the room’s ceilings with stars and having a writers’ corner in another room) are still there. She’s also thrilled to learn that most of the people in the house are interested in creative writing. Hugo isn’t interested in being a writer, but he mentions to Hannah that his girlfriend is in David’s class.

Later that day, Kate sits in on a class led by David (he invited her) and she sees that David has a new “star” student: Her name is April (played by Hannah Marks), and David seems to be in awe of her, which causes Kate to feel some envy toward April. Based on April volunteering to read a sample of her work in front of the class, April is a confident writer whose prose has a tone that’s edgy, sexually sensual and emotionally raw. It won’t come as much of a surprise (it’s not spoiler information) when Kate finds out that April is Hugo’s girlfriend.

There’s a scene in “I Used to Go Here” that could have been an outtake, but it seems to be in the movie because Jorma Taccone (of The Lonely Island comedy group fame) is one of the movie’s producers. (The Lonely Island members Andy Samberg and Akiva Schaffer are among the other producers of this movie.) In the scene, Taccone plays Bradley “Brad” Cooper, a former classmate of Kate’s who sees her by chance while she’s in Carbondale, and he invites her to have dinner and drinks with him.

During their dinner date at a local restaurant/bar, Brad turns out to be a jerk. He tells Kate that when he was in college, she was the woman he thought about the most when he masturbated, but he forgot all about her after all these years until he saw her again. Not long after the date starts, Kate finds out that Brad has also invited his “friend” Rachel (played by Kate Micucci) to join them on the date. Rachel and Brad then start making out in front of Kate, who sits and watches uncomfortably.

The rest of the movie involves circumstances that lead to Kate hanging out with the college students she met during her visit. The clique includes Animal’s girlfriend Emma (played by Khloe Janel). Even though Kate knows it’s kind of weird for someone in their late 30s to be partying with these college kids, the movie shows that in many ways Kate is trying to relive a time in her life when she was happier and more carefree. And seeing Dave again has brought up some unresolved feelings that Kate and Dave might have toward each other.

Movies with scenes of college students partying sometimes veer into slapstick comedy or over-the-top raunchiness, but writer/director Rey goes for realism throughout the movie, since everything that happens is entirely believable. “I Used to Go Here” also has some subtle commentary on the roles that women are often expected to have in society by the time they reach a certain age.

Kate isn’t the type of person who seems desperate to get married and have kids, but it does bother her that her career isn’t meeting the expectations she had when she was in college. There are multiple scenes in the movie where Kate is lauded as a “successful writer” by people at the university (usually the students give her this praise), but she humbly doesn’t see herself as a success, based on the goals she has for herself.

There’s also a well-written scene that shows some of the passive-aggressive cattiness that women can have toward each other when there’s envy or competition involved. Even though Kate feels like a “failure” inside, she tries to come across as superior to April when April shows Kate her work and asks for Kate’s feedback. In an attempt to deflate April’s confidence, Kate reminds April that she has less experience than Kate and that April isn’t a published author. Kate’s condescending attitude toward April has everything to do with Kate feeling that April has “replaced” Kate as David’s favorite student.

Kate’s self-esteem has also taken a hit because she’s feeling lonely after her breakup from her ex-fiancé Michael. Throughout the movie, Kate checks her phone to see if Michael has contacted her or to see what he’s posted on his social media. Some people might think that this behavior is pathetic, but a lot of people realistically do this after a painful breakup. (It’s pretty obvious that Kate was the one who was dumped.)

As the lovelorn but fairly optimistic Kate, Jacobs does a very good job with the role by making Kate emotionally vulnerable without being whiny or too needy. Jacobs has played these types of “smart but disappointed by life” women in movies and TV before, but that’s because she’s mastered the fine line between comedy and drama. The rest of the cast members are also quite good in their roles, with Clement once again showing that he has a knack for playing egotistical characters who are charming but might have sleazy ulterior motives.

“I Used to Go Here” is by no means a groundbreaking movie. However, it’s the type of movie that people can enjoy if they’re looking for a story where they see what happens during a few days when someone discovers how to reconcile expectations from the past with the realities of today.

Gravitas Ventures released “I Used to Go Here” on digital and VOD on August 7, 2020.