Newbie director Michael Kang's The Motel is an "indie dramedy" for "indie people"-meaning, it's a worthwhile flick, but from one look at the '80s color-schemed, pop-art-comic poster, it's clear that audiences are in for a prototypical, predictable indie ride.
Ernest (Jeffrey Chyau) is a 13-year-old Chinese boy, who lives in a dingy motel with his mother and grandfather. His childhood is hardly innocent, cleaning up after hookers and alcoholic welfare-ees.
His best friend, Christine (Samantha Futerman), provides his only moments of escape from the dreary world of the motel. The older girl thinks Ernest is a "spaz," and he secretly pines for her. However, Ernest's quiet life is derailed when he befriends disheveled businessman Sam (Sung Kang), who is more of a child than Ernest.
The coming-of-age story, based on Ed Lin's novel Waylaid, manages to draw laughs, albeit from shock value. The juxtaposition of adult themes with childhood naivete brings out chuckles of absurdity-Ernest's bully forces a make out session between the chubby protagonist and his own sister, who proclaims Ernest's erection means that they are in love.
The film is good by indie standards, but lacks originality. Wide shots, lethargic editing and drained dialogue have all become cliches in the world of low-budget features. However stale the formatting, the film's acting deserves real praise. Jade Wu realistically conveys the burden of a single mom running a business and raising children. Her striking performance will profoundly connect with immigrant audience members. Chyau and Kang, as Ernest and Sam, show the talent it takes to be successful in acting.
It may not be fresh, but The Motel knows how to effectively deliver comedy and tears in a short 76 minutes. However, it may lose you in its eccentricities if you forget to don your horn-rimmed glasses and vintage t-shirt.
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