It's disappointing to see a film generating so much buzz and possessing clear artistic merit still manage to disappoint, largely because it seems unsure of what it wants to be. This latest project from writer-director Jay Duplass, one half of the Duplass Brothers producing team, exemplifies that issue. The movie has many ingredients needed for success, but struggles to decide how best to utilize them. Essentially, it’s a quirky, occasionally dark romantic comedy centered on Cliff (Michael Strassner), a former improv and sketch comedian who's attempting to rebuild his life as a recovering alcoholic, trying to embrace a more conventional existence with his well-intentioned but controlling fiancée, Brittany (Olivia Luccardi. This effort is disrupted when Cliff breaks a tooth and desperately seeks an emergency dentist. Luckily, he finds Didi (Liz Larsen), an older, attractive divorcee who not only treats his dental problem but inadvertently gets drawn into a series of misadventures with him around Baltimore, leading to some unexpected (and somewhat unconvincing) romantic feelings. The film then becomes a strange mix of genres—romance, buddy movies, screwball comedies—all featuring unusual characters, improbable situations, and vibrant settings. However, that’s the core problem: it can't settle on a consistent approach. The first portion feels like an exaggerated comedy reminiscent of Adam Sandler or Ben Stiller films, while the latter part evokes some of Woody Allen’s relationship-focused movies. Throughout, the story unfolds in a disjointed way, drifting from one scene to another, frequently pushing too hard to find a sustainable rhythm. It's a goal that remains just out of reach and becomes increasingly frustrating. The film seems to be relying on its unusual elements and eccentricities, interspersed with moments intended to convey a more mature tone. As a result, it mostly just wanders along, leaving viewers wondering when—or if—it will ever arrive at a clear conclusion, especially since there are several logical stopping points that don't lead to any real resolution. Ultimately, “The Baltimorons” feels like an extended prelude without a satisfying payoff. I’m puzzled by the praise this film has received, particularly from organizations like the National Board of Review and the Independent Spirit Awards. If you're seeking a movie blending comedy, romance, and relationship themes, consider "Is This Thing On?" instead—a film that more successfully achieves its potential in those areas. Potential is valuable in filmmaking, but it’s wasted here.

Source on TMDB