It's hard to decide what genre The Selling falls into- there are elements of comedy, horror, sci-fi, and drama... but by the time the opening credits have finished, you know you are in for a great ride.
With humble nods to films such as The Amityville Horror, The Shining, and Poltergeist, there are very real moments of suspense and tension. Yet given the comedic roots of the cast and crew, it's no surprise that the audience burst into laughter throughout the film. A healthy mix of improbable situations, physical gags, and one-liners keep the film feeling snappy and smart. Personally, I found the "Sizzler" bit and actor Cole Stratton's exhaustive America's Next Top Model monologue (which was entirely improvised, taking full advantage of Stratton's talent and improv background) to be among the funniest scenes.
Simply put, the cast is superb. Writer/actor Gabe Diani handles the complex and nuanced role of Richard with ease. He reminds me of a young Tom Hanks: charming, intensely likable, slightly awkward but full of promise. Janet Varney is perfect as the beautiful but ethically flexible real estate agent Mary- a character you can never quite decide if you love or hate. Jonathan Klein provides comic relief without ever resorting to stupidity as Dave, and Etta Devine gives Ginger the quirkiness and heart that drive her motivations. Richard's mother, played by Nancy Lenehan, is part June Cleaver and part Betty White, wrapped up in a mom that we all recognize as our own. As a last ditch effort to de-spook the house, we are treated to Barry Bostwick in the role of priest a la The Exorcist. This cameo appearance is not put to waste, as Bostwick absolutely rules the screen.
The script is original, fresh, and clever. Diani takes the concept of a realtor burdened with a haunted house and guides the story in a way that feels honest and natural. Emily Lou's direction makes a relatively low budget 2-week shoot feel like a full blown studio production. Everything about The Selling is polished to a shine. The occasional use of cheesy special effects is greatly outweighed by the times it's done right. Even the poster looks like it belongs in a megaplex among the latest from Spielberg and Scorsese.
If you get the (rare, sadly) opportunity to see this film, do yourself a favor and go. It's even appropriate for the 12+ crowd; the lack of cursing and sparse gore keep it friendly without ever feeling "toned down." With any luck, someone from a financial powerhouse of a film studio will find this movie and snatch up the creators to make another gem. Until then, I'll wish them the best in "selling it" however they can.
