Second Best

Depending on your point-of-view, this story of 'Elliot', a self-proclaimed loser, is alternately depressing and amusing as it follows the travails of the ultimate frustrated writer. His animosity towards the world grows when he can't get published and is forced to post his 'literary' work around town on flyers stuck to telephone poles.

Then, to his surprise, Elliot's pseudo-'fictional' prose gets a response as it begins to strike a chord with his fellow downtrodden underachievers. But as pungent and funny as some of Elliot's observations may be to audience members, they do manage to strike his 'serious' readers close to the heart while at the same time aiming alarmingly closer to the bone of his close friends and associates.

Perfectly cast as said loser 'Elliot' is veteran actor Joe 'Joey Pants' Pantoliano who's supporting work in big-budget films like "The Matrix" and "Memento" has finally garnered him a major film role (of sorts). Elliot's sardonic wit gets a many-layered recitation from Pantoliano's lips (via voice-over primarily) as he perfectly captures the psychological depression and self-abuse that goes along with being the eternal outsider. Not to mention the even more deplorable fact that Elliot is a man who's sunk so low he's willing to borrow money from his ex-wife, mother, AND son just to maintain his paltry existence (and help pay for the flyers).

Elliot's polar opposite is his mega-successful childhood pal 'Richard', well-played with jaded zeal by veteran stage actor Guy Boyd, who continually dodges Elliots questions regarding a potential screenplay to be developed. Richard's knowledge of the business prevents his recognition of Elliot's populist appeal, leaving him with unenviable task of having to bring Elliot back to reality. Between them there is also an underlying jealousy which fuels their need to score decidedly humorous zingers against each other. Both Pantoliano and Boyd make the most of these verbal duels making these scenes the most enjoyable of the film.

The rest of the supporting cast is also above par and each character is given a choice moment to respond to Elliot's damnation of their feeble existences. The losers gang also provides plenty of comic relief throughout the film from the golf course to the local singles bar.

If it weren't for the reality TV audio quality and subpar video transfer this film would be very easy to recommend. However, if you feel that film is a visual medium and your theater isn't projecting this film in its original digital format then you might want to wait for the DVD. It'll be just as funny as a small-screen experience and a lot cleaner technically.

However, if you are the losingest loser in your neighborhood then maybe you should watch a second rate print of "Second Best" just to soothe your damaged ego. In any case, you've been warned.

I must admit that seeing a 3.8/10 by IMDb users before I saw this film was not the most encouraging thing for me to read before seeing this movie, which was played for the Trenton (NJ) Film Society last night. But I was pleasantly surprised. Joey "Pants" is actually restrained in this role, and isn't his typical over-the-top screaming character. All the other performances are also quite strong, especially Boyd Gaines. Normally, a film where people are wallowing in their inadequacies is NOT something I'm typically attracted too...that whole "victim culture" is something that I despise. But the film doesn't harp on that aspect as much as I thought it would. Or perhaps it's just that the writing is so superb. I hope this becomes more widely released, as I think it's definitely a worthwhile independent film to see.

Crossing the line from sweet to saccharine is all too easy, with the majority of films that dare go near true sentiment ending up knee-deep in aspartame. But Second Best prances on that line with aplomb and grace. I realize that, "sweet," would not be the first adjective out of one's mouth after seeing Second Best, but sweet is what it is. Sweet it is to realize that average is as human as we get; sweet it is to realize that jealousy is as common as the cold; sweet it is to realize that real success has little to do with winning; and sweet it is to once again realize that the journey is far more interesting than the destination.

So, at the risk of sounding a bit gooey, myself, I think Eric Weber has come up with a very sweet and funny movie. It deals with failure, misguided potential and loss but you actually come out of the movie feeling good. Good in the way that Garden State, or the Station Agent, or even The Eternal Sunshine of The Spotless Mind makes you feel. The direction, the dialog and the performances – especially that of Joey Pantalione – ring true and honest and real without even a hint of the after taste of Sweet 'N Low. To me it was the kind of movie that you wished didn't end so fast. It's good for all of us second besters. The winners can stay away.

"Second Best" shows what the guys from HBO's "Entourage" may be like 40 years from now, so Mark Wahlberg might want to see it as a cautionary tale.

Like "American Splendor," it features a self-deprecating, self-proclaimed loser who turns his life into art, here as rants that he prints up himself and distributes everywhere around his suburban New Jersey home town.

But "Elliott" is not a loner or a misanthrope which is what saves him, as played by Joe Pantoliano, from being insufferable or pitiful like "Marty." He is very much a part of a network of friends, family and community, and he is even on tolerated terms with those who have moved on with their lives, including his re-married ex-wife and son (who might be the first handsome gay dental hygienist ever portrayed in film).

The actors are very comfortable at showing middle-aged, male camaraderie of long time friends, as an unusually expressive self-reflective bunch who talk about more than sports. Though their weekly dinners could put the men's movement back a bit as "Elliott" becomes increasingly lacerating in criticizing his friends' lives, that disruptive nastiness becomes an equalizing set-up when the only alpha male from their group, in a sympathetic three-dimensional performance by Boyd Gaines such that Jerry Bruckheimer should be very grateful this is his alter-ego, comes back to visit the old neighborhood with his own existential crisis.

Until writer/director Eric Weber stoops to the standard male competitive reflex of jealousy over women ending in fisticuffs, which, frankly, just doesn't make sense for these guys despite the Cyrano analogy, he does present an articulate examination (with a lot of Yiddish phrases) of coming to grips with aging, from their own health problems to the mother's nursing home (though Barbara Barrie seems much more spry than the other residents). That more depressing side of aging baby boomers was left out of "Sideways," though this film also has plenty of funny one-liners, sometimes with easy targets like Hollywood and books, to compensate.

While the women's tolerance of their men's quirks is saintly, at least they are not portrayed as total bitches, though this is a somewhat cynical reunion for Pantoliano and Jennnifer Tilly since "Bound."

While "Elliott" got laid off from his publishing job for not being in touch with the market, he is in touch with today's world enough to begin to simultaneously post his rantings as columns on a web blog, and the film's inserts of reactions he generates both in the neighborhood and online from around the country are amusing, keep the film contemporary-feeling and move along the leisurely pace.

The Bergen County, NJ locales are used very well in creating the feel of a neighborhood.

Tom O'Brien's score is lovely.

I don't know if it was the fault of the projectionist or the director that the tops of heads were cut off in so many blurry scenes.

I enjoyed "Second Best" greatly. It is a deftly-constructed study of a group of old friends, with the emphasis on the character Elliot (Joe Pantoliano). Elliot thinks of himself as a loser, especially by contrast with his old friend Richard, who's got it all--the beautiful wife, tons of money, memberships in the best country clubs, great looks. He can't help but confront his friends with their own failings, as well as his own. But when the chips are down, it's Elliot who comes through as a real mensch, a good guy in the most important ways, and the film leaves you with the sense that in every important respect Elliot is not "second best" at all. He is the true hero of the movie, as improbable as that may seem at first. Eric Weber clearly has a great affection for his characters, and he represents them with great humor as well as a deep understanding. This is an American-made film that reminds you of the foreign movies you love so much (especially if you're sick as I am of car chases, explosions, and special effects). Highly recommended.