Like the depression-era brass-and-bass pop hits that its wiry protagonist covets Meet Monica Velour is a pleasant little ditty that plays smoothly and entertains from start to finish. Anchored by a refreshing turn from Kim Cattrall as the title character Keith Bearden’s feature debut is a firm freshman effort one that will undoubtedly grant the film journalist-turned-filmmaker a crack at something bigger.
A high-concept coming-of-age story with a significant social message the movie centers on seventeen-year-old Tobe Hulbert (Dustin Ingram) – an innocent and awkward recent high school graduate on the verge of a breakdown from boredom. The only solace he finds in his mundane existence comes from collecting assorted pop-culture items: vintage records from the 1930s comic books from the ‘40s and most interestingly pornography from the late ‘70s and ‘80s. When he hears about a rare appearance by his lifelong porn star crush at a sleazy strip club four states away Tobe leaves his drunken grandfather’s home and heads to Indiana to finally meet Monica Velour.
Of course after thirty years of professional wear and tear and marital and substance abuse Ms. Velour is nothing more than a decaying façade of the glimmering beauty she once was. Spiteful and world-weary Cattrall shines through the runny make-up and cheap outfits her character has become accustomed to and delivers an authentic portrayal of a woman who walked on the wild side and came through a marvelous mess. Her performance along with the nostalgic reminiscence of porno’s home-video heyday offers a loving nod to the skin-flick industry while poking fun at its ludicrous unnecessary plot lines and C-rate production values.
While Ms. Cattrall will help sell tickets young Dustin Ingram steals the show as the nebbish Tobe. Looking and acting like the bastard child of Napoleon Dynamite and Johnny Depp’s Willy Wonka the twenty-year-old actor taps into the misery of America’s disaffected youth and turns it into enjoyably wry comedy that shares its tone with the picture as a whole. Writer/director Bearden brightens his character’s bleak outlook on life with vibrant colors that convey the magic of Americana that fuels the film as well as his protagonist’s quest.
Though the movie may be likened to popular teen comedies like The Girl Next Door Porky’s or Fast Times at Ridgemont High underneath the crude humor and sex jokes is a poignant story of an unlikely friendship between a faded star and her number one fan. There is a great deal of emotional depth to both the characters and the narrative and though the relationship between Monica and Tobe is mostly comedic Bearden allows the mold to be broken at times to reveal a genuine connection between these two lost souls. Furthermore the picture attacks the hegemonic perspective of the aging woman in a society that worships youth and beauty and is quick to dispose of one who is past her prime. It has more in common with Juno and Little Miss Sunshine than the aforementioned mainstream studio movies and like both of those critical darlings deserves to be picked up for wide distribution where it will surely prosper.
Los Angeles couple Brad (Rory Cochrane) and Lexi (Mary McCormack) start off their day like any other bickering somewhat making coffee for each other. As his wife goes off to her high-paying job out-of-work Brad hears a radio report that says four dirty bombs have gone off around the city. They suggest people tape up their windows and doors as a cloud of gas is circling the city. Brad first gets in his car and tries to find his wife but is turned back by the panicked authorities. So Brad closes off his house along with his unwanted neighbor handyman Alvaro (Tony Perez). Radio reports tell people to keep themselves quarantined and that help will arrive. But when Lexi arrives home coughing and wheezing and insisting she be allowed into her house Brad says "no." Cochrane and McCormack play people we can easily identify with the scared public who have to deal with a horrific nightmare which could become a reality someday. Their disbelief over the reports and their increasing desperation are all very palpable—and oddly enough there's plenty of humor along the way. The frantic voices of family members calling from outside the city get more annoying than soothing and Brad appropriately complains "What do they want us to say?" Cochrane’s Brad transforms from a caring and helpful Everyman to a selfish fearful creep while McCormack’s Lexi changes from a professional and aloof snob to a sympathetic frightened victim. The two are fascinating to watch. With Right at Your Door writer/director Chris Gorak basically asks the question "What would you do?" Previously a production designer and art director for movies like Minority Report Fight Club and Lords of Dogtown Gorak doesn’t use fancy special effects to show any major devastation in the city when the bombs blow up. In fact there's only a big cloud that looks a bit more like an overly-smoggy day. There's also white ash covering everything which is rather ominous because official reports aren’t sure what it is or how toxic it is. Instead Gorak preys on your imagination giving only scant details about jammed freeways and hospitals. The not knowing is so much more frightening.