The happiness of a child lies in the weekly broadcast of his favorite furry animal named ‘Brigsby Bear’. First time filmmaker Dave McCary brings to us his film starring one of the film’s writers, Kyle Mooney as James, a thirty-something man-child who is obsessed with his favorite television show, owning every cassette, and several pieces of memorabilia. After the show’s untimely cancellation, James’s life takes a turn for the extreme, forcing the number one fan to now finish the show himself, for better or worse. Along the way, James must learn to cope with the realities of a new world that he knows nothing about because he has never stepped foot outside of his protective weekly bubble. ‘Brigsby Bear’ is rated PG-13 for thematic elements, brief sexuality, drug material and teen partying, and teams up the acclaimed Saturday Night Live duo once more of Mooney and Beck Bennett.
Now that you’ve read my synopsis for ‘Brigsby Bear’, you should know that everything that you think you know about this movie is only an illusion. This is very much an independent dramedy that is more clever than what meets the eye. The plot and ensuing story surrounding it revolve around this surprising shock twist that takes place within the opening fifteen minutes of this film that completely blew my mind, changing the tone and material alike, and then proceeding on from there as A result of this big bang. This is a touch that is certainly nothing groundbreaking or original, but it does lend itself to the confidence that the duo of McCary and Mooney possess in their film to appeal to the audience that they have practically alienated themselves from, with anyone thinking this was going to be a goofball comedy similar to Mooney’s SNL stick. For Mooney, this is A Chance to breakout from a stereotype that has garnered him minimal time on that show, and to trade it in for a hearty performance that proves he is a force to be reckoned with when compared to the barrage of SNL greats that have and have not gone on to make a name for themselves when they no longer go live at 11:30 PM on Saturday night.
Once that plot twist that I mentioned happens early on during the first act, it feels very much like the film is playing into our nostalgia as an audience for the kinds of television show characters and worlds alike that we immersed ourselves in when we the young adolescent age, and pulled the wool from James eyes in the same manner that all of us ensued when we were forced to grow up. This is of course A story with A bit more devastation to it, and that mood layers itself with A screenplay that I never would’ve expected from the guys in The Lonely Island of all things. The film does stay a bit one note remedially, hinting at a bigger picture in reveal that those few possible subplots never pursue with much more persistence. There were a few aspects with the production of this television show that raised a few good questions in my mind, but it just felt like me making the direction into something that never became. This is a 92 minute brief engagement, so to say that this film sticks close to its three act structure, is putting it firmly. With that said, I can’t say that I was ever bored or disengaged from this film, and my fear of this man-child’s fragile psyche playing into this tight-rope of nerves between past and present that has brought him to this day, always kept me watching closely for the cause-and-effect that a sheltered life can leave on the mind of a dreamer with miles to travel creatively.
McCary’s film embraces the concepts of James past metaphorically through the eyes of the bear, so when the idea pops into his head to continue on with the show, it not only feels like A longing for his sheltered past, but also a halting of progress for his ability to move on, a concept that the film stands firmly at on the crossroads of repetition and influence. On the latter, this film becomes kind of this character study for James and how his interaction with other kids his age can feel can come across as mimicking. He’s only known this one thing for the entirety of his life, so it feels like the typical character from another world who is being taught our way of life for the first time, except here it warrants those concepts because we feel a great empathetic pull for James and the new experiences that he will never ever fully grasp for being late to the fold because of his limited past. That’s why the first half of the film was marginally better than the second half for me; its deranged nature comes across as the factor that gives it wings, and once that’s put away for good, the film’s moral framing hints that it’s OK for James to feel this reliant on Brigsby, A motion that I found difficult to cope with for the well being mentally of this nearly closed book.
The aesthetic touch is perhaps some of my favorite aspects of McCary’s film, as the television show within this movie feels like a callback to 80’s public access productions where the minimal money reaped the bigger monetary reward. Because so much of ‘Brigsby Bear’ feels cheap in design, it caters to the spandex generation of children who grew up knowing and loving shows with this kind of terribly under-utilized effects and dated synth-pop musical score to boost. The Lonely Island are known for this kind of thing, but while we as an audience might giggle from time-to-time, wondering what the appeal is to it, the film very much envelopes itself into every character that it comes into contact with, framing Brigsby as an irresistible hero just waiting to be believed in by all who take on his VHS challenge.
Kyle Mooney can rest assured that his performance as James will be the memorable role for him that turned the tide in his once one-dimensional career into A remarkable transformation as an acting darling. In James, we embrace a delivery from Mooney that is soft and gentle like a child, but rebellious and crass in the defiance of an expanding teen. With a lesser actor, this would come across as A condescending lead, playing more into a gimmick rather than an immersing, but Mooney’s shy and bashful delivery prove that he is the right man for the job, being not fully aware of the terrible things that have transpired in his early career. This makes him A character who is easy to get behind and embrace because we never like to see bad things happen to children, A thought that is ludicrous considering Mooney is 32 years old, but it’s A testament to how committed he embraced this cryptic adolescent. Handing in supporting turns are Clare Danes , Mark Hamill, Greg Kinnear, and Matt Walsh, A usual one line cameo artist who finally gets A major helping in this script. Everyone plays a pivotal role in James life, but it’s great to see so many memorable faces committing to something off-screen as different for A supposed comedy like this.
THE VERDICT – Make no mistakes about it, this bear isn’t soft or cuddly, it’s an earnestly eye-opening look at the dangers of addiction that never needs drugs or alcohol to roar with other cautionary tales. Mooney’s performance is right on cue, balancing the sentimental with the synthetic, and McCary takes a huge leap in the director’s race in only his first feature film. The lack of comedy might alienate some of its audience, but if you stay patient, this unusually poignant melancholic plot will steal your heart and your respect. Everything you want with nothing you are expecting. The less you know going in, the better.