Museum of custodial arts, in Community, Modern Espionage, S06E11, 2015 (feat. Joel McHale, Gillian Jacobs, Danny Pudi, Alison Brie, Ken Jeong, Jim Rash, Paget Brewster, Kumail Nanjiani).
A Native American Indians Pyramid, in Mike Tyson Mysteries, A River Runs Through It Into a Heart of Darkness, S01E06, 2015 (feat. Mike Tyson, Norm Macdonald, Rachel Ramras, Jim Rash).
The Forbidden City, in Mike Tyson Mysteries, A River Runs Through It Into a Heart of Darkness, S01E06, 2015 (feat. Mike Tyson, Norm Macdonald, Rachel Ramras, Jim Rash).
This is very glurgey and based on a self-prompt from a somewhat unexpected place.
Title: Stumbling InWC: 1000
At the risk of giving the impression that I do nothing but ineffectually stalk Paul F. Tompkins via his sadly defunct podcasts, I’ve been working my way through Spontaneanation. It’s kind of an evolution of the Pod F. Tompkast—it starts with a wonderfully rambling monologue, and it’s…
The Way, Way Back Written and directed by Nat Faxon & Jim Rash USA, 2013
Watched on 30th March 2014 First viewing
I’ve been really busy and exhausted this month, so I’ve not had the time and energy to watch many films. (Those I’ve seen but not written up here were Dallas Buyers Club,The Browning Version,The InnocentsandBoogie Nights.)
The Way, Way Back is a bittersweet coming-of-age comedy drama about Duncan (Liam James), a shy and awkward 14-year-old boy on a summer holiday with his mother Pam (Toni Collette), Pam’s boyfriend Trent (Steve Carell) and Trent’s daughter Steph (Zoe Levin).
The relationship between Duncan and Trent is strained, as demonstrated in the opening scene where Trent asks Duncan to rate himself out of 10. When Duncan relucantly gives an answer, Trent suggests that Duncan is in fact “a three.” This is apparently inspired by an incident from co-writer Jim Rash’s childhood, which makes me want to give him a massive hug.
Duncan soon finds some happiness at a nearby water park, where he befriends the manager Owen (Sam Rockwell). He takes on a job at the park, forming a makeshift family of his own and building his confidence.
Making a heartwarming coming-of-age tale may seem like shooting fish in a barrel. Anyone who was once a teenager must have countless painful memories to draw on when trying to connect with a film like this. (It’s written right there on the poster: “We’ve all been there.”) But to hell with it, this is a particularly lovely example of the genre, so I am one happy fish.
