Rarely have two leads seemed to be starring in different movies more than Andy Garcia and Emory Cohen in “Big Gold Brick.” Then again, it’s difficult to know exactly what type of movie writer-direc…
’ feature wants to be, so haphazardly does it search in vain for a consistent tone, a measure of lucidity and an overarching purpose. The tale of a suicidal writer who finds salvation through a chance encounter with a man of mystery who hires him to pen his autobiography, it’s a wildly flailing venture in every respect. No matter the arbitrary participation of, few viewers will find anything to latch onto when it debuts in theaters and on VOD on Feb. 25.
Awkwardly channeling a particular brand of zany late-’90s independent comedy, “Big Gold Brick” works very, very hard to generate eccentric dynamism. Constant slow-motion, transitional fades and wipes, and a soundtrack that segues on a dime between Beethoven, jazz and rock are some of the many devices utilized by Petsos. Yet there’s no rhythm to his material, either within scenes themselves or with regards to the narrative as a whole.
In the latter case, Cohen proves the prime culprit. Sporting long hair and a green canvas jacket — both of which make him look like a standard-issue metalhead — his Samuel Liston is a drunken mess who abandons his life, gets run over by Floyd Deveraux and, upon recovering from a traumatic brain injury, takes up residence in the stranger’s home as his new biographer. Samuel is prone to fits of boozy weeping and screaming, as well as talking to the Santa Claus doll in his new bedroom.
Despite piling on character details and plot developments, “Big Gold Brick” is beset by torpor, in large part because every new incident is untethered to the ones that preceded and follow it. Such randomness is deliberate, and might have been energizing if Samuel and Floyd’s budding relationship served as the figurative port in the surrounding storm.
“Big Gold Brick” frames its action proper with snippets of Samuel recounting his odyssey while on a promotional tour for his book about his time with Floyd — dreary sequences that suggest the main result of this entire ordeal was to turn Samuel ponytailed and pretentious.
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