After the Reality

Was so delighted to stumble upon this heartwarming, yet hilarious, independent film from first-time director David Anderson. I was frankly drawn in by names like Matthew Morrison and Jane Lynch, but left excited to see more from Anderson, who demonstrates an intriguing ability to defy genre.

I am a fan of the two leads of this movie and this seemed like an easy film after I put the kids down to sleep, so a no-brainer....I am so genuinely surprised to be thinking about it days later.It struck a chord with me. It made me really think about real reality and the reality that I am hooked on (embarrassingly). It made me consider parenting and the sibling relationship, it made me think about why we choose our partners and what tools we have available to us in our "emotional" tool belt-sounds heavy but then there are hysterical parts. I really enjoyed it!

I was really excited to watch this as I liked some of the cast. So many things made it worth watching and it didn't disappoint. The story was real, awful, fun and poignant, with beautiful photography. I loved it and hated it as I watched brother and sister finally figure it out. I highly recommend it and will watch it again... and again.

This is a great watch. A moving story with honest portrayals of grief and a tribute to those who have to each find their own different way forward. We laughed out loud. Wish I could melt into the family's cabin in northern Minnesota. The commentary on the soullessness of the reality competition world is right on. Loved it.

The trailer cherry picks "deliciously pitch-perfect" when that quote applies only to the reenactments of YOUNG BUCKS, the Bachelorette-style reality TV show. Frankly, they were pushing the age of the male suitors. Top billed Matthew Morrison is 38 and his face looks every bit of it.

Less successful is the family drama that isn't very interesting and reeks of "prodigal son" shtick. Morrison isn't very spontaneous and doesn't really create and inhabit characters. He brings his set repertoire to the role and takes on the character's name. That's it.

The script suffers from absence of subtlety. EVERYTHING the characters are thinking comes out of their mouths. The expository dialogue reveals that the writer/director doesn't trust the audience to perceive anything. Thus we end up with emotions by braille.

This would do better on Lifetime TV than the big screen.