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But while that was likely the intent, the results diminish the material instead. These changes would be fine if they added depth, wit or sympathy.
(Script is credited to the three main actors plus Jeff Feuerzeig, “additional dialogue” to other cast members.) Other notable departures from Boyle’s story include making principal characters inarticulate, rather childish Gen Y types, and an added fadeout of the “What the hell, let’s chuck it all!” ilk. In place of the source material’s giddy comic energy, verging on nervous breakdown, the pic substitutes a woozy dramedic tone whose lack of focus is underlined by what too often sounds like improvisational dialogue that’s seldom very funny or insightful. But this big lie is sure to explode in his face when discovered. This buys him a few more days’ freedom, as well as outpourings of grief from hitherto distant co-workers. The next morning he again skips the 9-to-5 grind, blurting to his boss that the baby has now died. One day Lonnie simply can’t bring himself to go to work, inventing an excuse (“The baby is sick”), and has a swell, revivifying day all to himself.
All this leaves precious little time for chillaxin’, let alone making music with Lonnie’s old pal Tank (Mark Webber), who remains at slacker liberty living in a trailer at the beach. Lonnie (Leonard, of “Humpday” and “The Blair Witch Project”) works an editorial job he hates while spouse Clover (Jess Weixler, “Teeth”) finishes law school they’ve got a 6-month-old daughter.