Cringy dialogue, not-great acting and a subpar score hamper Omar Salas Zamora’s gay relationship drama
There’s an episodic feeling to Omar Salas Zamora’s gay romance, no doubt because it was originally released in the US as a mini webseries. This structure might have worked well, as Zamora charts the ups and downs of a relationship that begins as a casual hookup, and gradually deepens into something more tortured. The premise, however, is quickly spoiled by a whole lot of cringy dialogue and not-great acting.
The score alone is an off-putting signal: that kind of deeply unexceptional music that starts out with a generic keyboard chord then swells with some equally dull synths; the stuff that one hears in a lot in indie flicks. The tune appears early on during a quick montage in which Aaron (Jason Alan Clark), the main character, is getting ready to meet Jordan...
There’s an episodic feeling to Omar Salas Zamora’s gay romance, no doubt because it was originally released in the US as a mini webseries. This structure might have worked well, as Zamora charts the ups and downs of a relationship that begins as a casual hookup, and gradually deepens into something more tortured. The premise, however, is quickly spoiled by a whole lot of cringy dialogue and not-great acting.
The score alone is an off-putting signal: that kind of deeply unexceptional music that starts out with a generic keyboard chord then swells with some equally dull synths; the stuff that one hears in a lot in indie flicks. The tune appears early on during a quick montage in which Aaron (Jason Alan Clark), the main character, is getting ready to meet Jordan...
- 7/19/2021
- by Phuong Le
- The Guardian - Film News
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