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Props to the director for daring to go dark, but when the rug is pulled, the whole movie tumbles with it. The ripple effect is felt back in the Pittsburgh suburbs by Landsman’s wife (the always great Kathryn Hahn), his shy son (Russell Posner) who is aching for some paternal attention, and his kindhearted boss (Jeffrey Tambor) who may end up losing his business due to Landsman’s out-of-control lie. There’s an unexpected narrative turn in California, in which the libertine Lawless, who is hardly the success Landsman thinks he is, involves Landsman in an evening of libidinal debauchery. After catching a late-night suntan lotion commercial starring the coolest guy from his graduating class, Oliver Lawless (James Marsden channeling James Franco), he cooks up a wacky work excuse to go out to LA and try and drag Lawless back to the school gymnasium.
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The 20th anniversary is coming up and he sees its success as his only hope of gaining respect from his hometown peers. The result is a film as annoying as its lead character.īlack’s Dan Landsman is the self-appointed head of his high school reunion committee. The “neither this nor that” quality torpedoes any hope of accepting its characters and their far-fetched shenanigans as anything resembling real life. The D Train, written and directed by television veterans Jarrad Paul and Andrew Mogel, aspires to be light entertainment with occasional flashes of edge. That is a movie whose form is part of its message. When a film’s lead character is the movie-going equivalent of nails across a chalkboard, is there any way you can enjoy it? With more substantial fare, like Rick Alverson’s Sundance debut Entertainment, the answer is yes. The D Train, starring Jack Black, presents a peculiar artistic conundrum. Now try and imagine spending an entire movie’s run time with him. T hink about that one insufferable guy you knew in school who comments on everything you put on Facebook.