Paul Kaplan, played by Hugo Armstrong, is an aspiring actor who finds himself in audition after audition or in a movement workshop in a movie that will keep you searching for any redeemable aspect in its creativity-deprived zone.
Right from the start, we are thrown in an audition with Paul and other actors. The movie sets its own pace in the very first minutes, where audition footage is followed by images of said workshop, with the occasionally follow-through of Paul in his own car, often rehearsing his own audition lines. Daniel Martinico, director and co-writer of the movie, never departs from this formula and ends being a victim of his own simplistic concept. Even with its short runtime of 80 minutes, OK, Good feels overstretched, tiresome, and pointless. Its aim at conveying the struggles of a man trying to make a life as an actor could also be considered as the difficulties of aspiring actors who see in Hollywood a ticket to realize their dreams but also the reason for their impossibility. An interesting theme ineffectively executed.
Besides Armstrong's performance, the only, if somewhat dull, aspect that could be said stands out in the movie is the portrayal of a room, with everything in it, being teared apart. It definitely takes its time to show it, but nonetheless it offers an alluring depiction of how many objects are being broken before our eyes. The real feel it emanates from it can be funny yet sad, but mostly interesting since it symbolizes broken dreams. Overall, OK, Good has some moments here and there, mainly due to Hugo Armstrong, but overall, we are before a series of disjointed and boring group of scenes that testify to, once again, the unoriginality and lack of editing skills masqueraded as artistic freedom often found in independent films.
