In Search of a Midnight Kiss

Can love be found in the sparkle of damp streets? A soft-focus moment as desire is swept and sublimated into the tenderest kiss?

Do these scenes elicit warm memories for you? Or is it an emotional jack-off to a place you want to be in but can't?

In the last few days of each year, activity on sites like MySpace and Craigslist swells 300%. So many looking for love on New Year's Eve. Our ex-video-clerk (and award-winning film-maker), Alex Holdridge, has made them a movie. A dark, perverted, gritty, romantic comedy that, like a new relationship, comes with big indie warts-and-all. Then turns them around in an artsy, offbeat triumph.

Opening black-and-white photography of couples kissing exudes style. Tasteful snogging on sidewalks. Smooching by a river. Under neon. Christmas illuminations. Streetlights and shadows, and quiet corners. Sinatra croons "As Time Goes By" and a convenient voice-over says: "It's not just another kiss - it's all the hope of romance of the year culminating in just one moment."

But lets get real a minute. Our protagonist, love-luckless Wilson, is segueing the female half of one such scene into a private erotic fantasy. It features his best friend's girlfriend, Min. (Here the comedy plays to our discomfort). Determined to find him a life, Jacob and Min cajole him into placing an online dating ad. Vivian, neurotic blonde with openly cut-throat approach, soon 'interviews' Wilson as her potential New Year's Eve date.

Gutsy performances and shambolic production values keep Midnight Kiss rooted to some recognisable reality rather than the glossy romcom it could easily have become. Rambling dialogue is cringeworthy from the characters' awkwardness rather than lack of writing talent. What at first sight seems like an amateurish losers' mess, gradually earns its wings as human interaction shows Wilson to be more substantial and interesting than his tosser persona would credit; and Vivian to be more human than her pill-popping intro would have us believe.

Vivian's location sets were almost too realistic for the film's own good it seems. Twice, the cast and crew were threatened with police action when downmarket hotel managers were spooked by the sight of empty liquor bottles and prescription drug pill boxes. Much of the movie is made in downtown Los Angeles or Sunset Boulevard - surrounded by derelict theatres and decrepit hotels. But its verité style lovingly exposes both the city's decay and its beauty. Originally conceived as bitter critique, its ultimate appeal (like 'thelostshoeproject.com' that Vivian champions - 'everyone is searching for something') is one of jewels in the dust.

Pacing is adroitly achieved through abrupt changes in emotional resonance. From initial, self-consciously polished cinematography, we are thrown into Wilson's desultory world. And just as we want to lose patience with him, Vivian erupts into the dialogue, kicking ass all the way from Texas to L.A. A subplot involving Jacob and Min's romance distracts us long enough for the outcome of Wilson and Vivian's date to develop the needed tension. And perhaps the fact that the film doesn't sell out at the end persuades us to view the whole episode more kindly. The palpably low-budget allows the skills of the filmmakers to shine through - whereas a market-perfect production could well have glossed over them. Rather than a movie for couples out on a date, In Search of A Midnight Kiss is for all the people who wish they were out on a date. Or for couples brave enough to ask if they are any better off.

The film, for all its flaws, connects in a way that sanitised romantic comedy can not. Perhaps in idealising love it is all too easy to ignore the grubbier roots and miss what is in front of our eyes.

This is one of my favorite films of 2007. It captures perfectly the feeling of living and dating in this day and age. Midnight Kiss is also one of the few films I've seen that manages to convey both the male and female points of view, in a very truthful and funny manner. The actors are all fantastic, in particular the expressive Scoot McNairy and the lovely Sara Simmonds.

This is what every independent film should be - unique, engaging, laugh out loud funny and tear-inducing as well. I was never bored and left wanting more. The audience I saw it with included twenty-somethings on up to people in their 70s, and everyone raved about it afterwards - amazing to see a film connect with so many people from different age groups. I just hope Midnight Kiss is given a great marketing campaign and a chance to build audiences with word of mouth and good reviews, because this is a jewel of a film that deserves a chance to be seen and succeed at the box office. Well done!

It's little low budget Indies like this that make going to the movies a genuine joy. Alex Holbridge has crafted a sad & funny tale of lonely people on what is probably the worst holiday for them (New Years Eve). The central protagonist is pining for his lost love, when his room mates suggest he look for a hook up through Craig's List. Whom he connects with is everybody's idea of the blind date from Hell. Undaunted, out of loneliness, he tries to make the best of it, with some very funny & very harrowing results. This well written,directed,photographed (in stunning black & white)and acted out film is one to keep your eyes out for if you're sick to death of the same old cine crap from the Hollywood sausage grinder. As this film is unrated, expect some uber rough language & sexual situations (suggested and depicted).

Very special movie about millennium love in L.A. It brought tears of both empathy and joy to my wife's eyes. Great date movie because the guys like it, too. Lots of spontaneous laughs from the audience, even without cue cards. Images of Sara Simmonds as Vivian, the female lead, may stay with you and even haunt you for a long time. The writer/director, Alex Holdridge, has created real life characters that we can relate to because they seem like real people. You also get a most interesting background story revealed in graphic images of old Los Angeles, including a visit inside buildings of the old theater district, whose musty stages are now dark and silent forever. See this movie. You won't be disappointed. Strap on your seat belt, though, because Vivian will take you on a "Looking for true love" ride that is different, fun, happy, sad, snappy, and in the end, most pleasurable. I look forward to director Alex Holdridge's next movie.

To tell the truth I wasn't really expecting much from this indie romantic comedy. Much in the line of other great indie movies like "Clerks", "Before Sunrise" or "Walking and Talking" nothing much happens in this movie apart from a lot of talking. Wilson (Scoot McNairy), a scriptwriter going through a terrible patch in life, is caught jerking off to his best friend's girl photoshopped picture. This naturally is the newest low in his disastrously low last three months. More entertained than mad his pal convinces Wilson to sign up to a dating service as 'The Misanthrope' in an attempt to avoid him having to spend New Year's alone. His first hit is Vivian (Sara Simmonds), a Texan girl, who has just left her man and is out to dominate in an attempt to have a fun night out. After a not-so-good initial meeting the pair suddenly seem to start hitting it off... but will they last till midnight and the midnight kiss? Funny, honest and filled with those awkward moments that populate any real conversation this is a refreshing change of pace from most American movies. There is absolutely nothing to distract you from the picture in the shape of cinematography (which is adequate and somewhat amateurish), music and other such typical movie filler. Therefore the dialogues and interaction of characters has to work in order for the movie to hit home. Several times I felt the movie is close to falling off the edge, but time after time it miraculously pounces back to make a heartwarming and almost perfect finale. I must admire the script as a whole, although not all of the conversations really seemed to work and some scenes seemed forcibly overcooked.

Scoot McNairy almost singlehandedly keeps this picture together with a commanding if reserved and exceptionally natural performance. The rest of the cast is OKish with Sara Simmonds sometimes giving in a strong performance, but multiple scenes she borders on being irritating and unlikeable. Somehow even when in danger of that happening the director with the aid of McNairy manages to put the movie back on track. And the last 15 minutes or so are really poignant and make the whole experience extremely worthwhile.