THE STORY – A terminally ill actor becomes obsessed with being featured in the Oscars’ “In Memoriam” segment, exploring ego, humility, and legacy.
THE CAST – Marc Maron, Talia Ryder, Lily Gladstone, Michael McKean, Judy Greer & Sharon Stone
THE TEAM – Rob Burnett (Director/Writer)
THE RUNNING TIME – 118 Minutes
Many fear that making no impression on anyone they come into contact with is the worst thing that could happen to them. While this innate fascination for recognition is often frowned upon, it’s not an entirely petty desire to be remembered. If anything, it speaks to the impact someone has made in their time on this earth, whether it’s through their work, the way they lived their life, or the impact they made on those they came into contact with. This notion is what drives Rob Burnett’s latest “In Memoriam,” a dramedy that props up one of the funniest premises for a film I’ve heard in a while, yet never fleshes it out beyond the parameters of overly sentimental films we’ve seen before.
Burnett quickly showcases to audiences the desperation of a working actor, Langston Stanfield, played by Marc Maron, whose once-promising career was sold the moment he cashed out to star in a network sitcom. His days are spent starring in guest-star roles, trying to go off-script in the hopes that his natural talent leads to an opportunity or some flattery. While his career was ultimately a success at one point, Langston’s decision to forgo the pathway of a thespian cost him the once prestigious career he aspired to have. All of that changes when Langston receives a diagnosis that he has an incurable tumor, leaving him with six months to live. The fears of his failures and regrets press onto his mind until he comes up with the grand idea to force his way into the In Memorium segment at the upcoming Academy Awards ceremony after his passing. It’s Langston’s last shot at creating a legacy as an ego-fueled crusade leads him to evaluate the failed relationships of his life, including Talia Ryder’s Maura, his daughter, who’s essentially a stranger to him.
“In Memoriam” is kept afloat by the presence of Maron. This clever casting decision adds a metatextual layer to the film, giving it a needed boost, along with the inclusion of the rest of the ensemble, featuring heavyweights like Michael McKean and Sharon Stone. Maron, as a performer, isn’t entirely pulled out of his comfort zone, drawing mainly on his frank comedic sensibility, which has shaped the weathered comic he is today. His charmingly grouchy demeanor works wonders, especially when some of the jokes don’t land. At times, Maron has to switch gears to a more dramatic level, and he hits those moments, especially in pivotal scenes opposite Ryder. The characterization of Maura is what one could expect. Still, Ryder’s ability to elevate a scene is a testament to how brilliant a performer she is, so early in her career. Their dynamic is the heartbeat of the film, and if the performers weren’t as good together as they are, the little emotional impact “In Memoriam” conjures wouldn’t be as effective.
Burnett amusingly employs the revolving door of talent that comprises the rest of the cast, mainly in minor roles, such as Justin Long as an influencer-turned-actor, Jack Stackhouse, and Alan Ruck as the aggrieved Jeremy Marvin, an executive who has beef with Langston. It’s less than these characters are purposely introduced for punchlines; more often than not, they’re underwritten reminders of Langston’s mistakes or obstacles in his way. Even someone as comparable as Lily Gladstone manages to make the most as Samantha, a therapist Langston sees to process the trauma of his diagnosis. The two have a nice rapport, but having Gladstone occasionally eke out some punchy dialogue as a character built to dig out cheap exposition feels like a missed opportunity for a performer of her caliber.
Burnett’s ingenious premise is enough to lay the groundwork for a heartwarming film. Still, the comedy wears thin under the drama’s reliance on convention, which the film resorts to so often. Laughs are often sacrificed in favor of building emotional beats that so desperately want to move audiences, when in fact it’s all the more obvious where Langston’s individual evolution will take him. It’s amusing to see Langston hopelessly bounce around alternative routes in his quest to get his name solidified in the in memoriam list. But when the jokes don’t land, it’s all the more difficult to ride the highs of what ends up being a pretty standard feel-good comedy.
