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    ‘The Count of the Three’ marks a great debut for Jerrod Carmichael


    My first experience of Jerod Carmichael, probably at least a decade ago, was watching him, not a small one, especially the great audience I was just bombarding with, while almost no one did the kind of work in which you would normally. Expecting an audience to work. He Not shouted, he wasn’t animated, he didn’t ask them many questions to create “energy” or “involvement”; He was just a strange kind of cerebral man, leaning against the back wall of the stage in the hoodie, sharing a series of goofy, semi-surreal thoughts. He A quiet type of “anti-stage presence” was created that didn’t feel like shtick.

    Carmichael directing, on the count of three, This week at Sundance, I have a lot of memory of watching her perform: thoughtful, surprising, genuine, depressive in an oddly optimistic way, and above all a unique vibe that’s not easy to forget. While every actor makes his directorial debut with some unbearable fanfare (“it’s about a family struggling to cope with personal tragedy”), on the count of three In an 84-minute film about a suicidal best friend who somehow sounds creepy, the irony is to his most absurd degree.

    With a script by Ari Kachar and Ryan Welch The structure And Carmichael Show), Carmichael Wall, is the two best friends of underrated and suddenly ubiquitous Christopher Abbott as Kevin, who has committed two suicides. If that sounds foggy, well, it is, but it is also free. Val and Kevin can live on this day like it is their last day on earth, because it is. on the count of three A dystopian road trip boy of sorts becomes a film, living entirely in that brief, unique window where tragedy becomes an opportunity.

    The gag is that Val, coming into depression later in life, is becoming a suicide poseur. I don’t want to spoil it too much, and I probably don’t need to. You’ve seen a street movie before; The main characters go on quests and meet people from their past and present (Tiffany Haddish, J.B. Smovey, Henry Winkler). After watching one or two other films with very similar structures recently (shooting in an epidemic can determine such a relevant structure), what sets it apart on the count of three Others have it that the people they meet never seem like “fun cameos” opportunities. In fact, it seems that in the script they took pains to imagine the least funny issues they could do – depression, suicide, domestic violence – and tried to fit them all into a film that was without Is clearly comical. That it allows situations to play out naturally, in a more character-driven fashion, rather than as a transparent excuse for a joke, is probably why it’s actually capable of finding humor.

    The ending may not be as difficult as the film was making it, but it is a pleasant, eccentrically off-beat ride with Papa Roach’s finest use. silicon Valley. I try and fail to remember a scene this year that made me laugh as Jarrod Carmichael tries to commit suicide in the bathroom in a mulch factory while Travis Tritt’s “It’s a Great Day to Be” Alive “is a blur on the sound system. on the count of three Rare is a pleasant suicide film because at its heart, it realizes that while the idea of ​​depression and suicide is very tragic, they are also corny in a way.

    ‘On the Count of Three’ made its debut at Sundance this week. Vince Mancini is on Twitter. You can access their collection of reviews here.

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