Good Dick

Good Dick

The plot of Good Dick begins with an aggressive lady and her video disc collection, which forces the young clerk who is tending to her into a ‘love’ chase. It pays off. The comedy brings us once more to the familiar Sundance story of neurotic episodes corresponding with people in love, with the inevitable happy ending.

Times of London could have felt Anglicized after watching that film: the film does not provide a script, does not have stimulating acting, does not make you laugh, in general the film does not rise against the other Sundance-type films in the market, despite being sadomasochistic.

The young audience and fans of Jason Redd, the actor who played as the clerk, probably would go for the film and even if Palka’s women’s view of the suffering tell about good things to come, perhaps that is what this Good Dick could be about. Those with disturbingly blunt attempts like that might have watched Pecker. contribution of outside will be nil.

As soon as shy and lonely girl (Palka) comes seeking porn from the shy-seduce video attendant Jason Redd, the video attendant is instantly obsessed with her. This is the point at which she asks about a movie and the clerk jokes that it isn’t erotic. She gives him money and he tells her that she should buy three videos, and she always buys three.

The combustible zeal of the clerk disconcerts his target, who would rather have her sexual activities as a private affair. As the scene unfolds, Good Dick stutter-steps this give and take of thrust and block that the woman is an loathsome imputation which the clerk was willing to endure in order to win the heart of an oh-so-sweet lady. He even invented a story about how his great aunt who happened to live in the complex had just passed away, offered her some tips on how to have fun in bed, and brought her pizza while she was watching adult content on TV.

It is interesting, and perhaps even prophetic, that the two protagonists don’t have the names. There seems to be something archetypal or timeless in their neurotic pas de deux. Having witnessed their last clash, you also ponder how the abused and irritable young female turned out so. If sex is to be the ultimately triumphant weapon in this narrative, then perhaps it is best, advanced by the clerk. And it indeed is effort to watch the film that was Good Dick.

The video itself cut intertwines his meetings with her drab flat with attempts at humor offered by the video shop clerk’s friends (Eric Edelstein, Martin Starr, Mark Webber, all nerds from the Slacker central) and what are they complaining about this time love. One of the customers of a video shop does not raise the question of his other failure that of a home because of which he lives in his car. They are thrown out of the car and too many get worse the car too, from parking lots. Los Angeles is rightly epitomized in the cinematography of Andre Lascaris and the effective production design of Andrew Trosman.

Through the eyes of Pialka the film’s self-directed script, the clerk who is making witch-hunt for the heroine goes through mostly charmless acts to woo her but all she does is angry and clumsy rejections and these two have an interaction which looks like an amateur performance of one of the classics – The Taming of the Shrew or simply a good-dick styled story.

Dick Good’s performance is comically bad as Ritter runs about, crying for Pialka over and over, and under her management, the script depicts their meetings as monotonic and tiresome without the zany touch of a S&M rendezvous found in Steven Shainberg’s Secretary (2002).

While Ritter is undoubtedly better looking than Allen (and perhaps Pialka is also an admirer), Allen’s witticisms which come with charm as well as his character are missing in Ritter and not even the hopeless cringe comedies of comeback Zach Braff in dumpster fire of a movie called Garden State, which at least managed to rake some in at the box office.

Of course, at least Ritter can pass as a comic actor. His co-star Palka does not seem to understand how the film could be funny at all, including the cringe moments in the movie’s climax when the father of the young woman, an abusive millionaire who she blames for her issues and is portrayed by Tom Arnold, is revealed. Not likely to warm you up, the focus of her movie seems to be on the inability to achieve orgasms.

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