THE STORY – Two codependent best friends become addicted to the heroin-like touch of an alien narcissist who may or may not be trying to take over the world.
THE CAST – Olivia Taylor Dudley, Lou Taylor Pucci, Jordan Gavaris, Marlene Forte & Paget Brewster
THE TEAM – Addison Heimann (Director/Writer)
THE RUNNING TIME – 100 Minutes
Sometimes, a film can have a handful of laudable individual aspects that show that the artists behind the scenes are working at the top of their abilities. And yet, a collection of successful parts doesn’t always add up to a whole worth recommending. Such is the unfortunate case with “Touch Me,” the new oddity-on-film from writer-director Addison Heimann. It’s certainly easy to hand-wave the film as merely “weird,” so we’re going to do our best to avoid that word entirely in this review. Besides, that’s not inherently a critique or even a negative categorization. Instead, what prevents “Touch Me” from totally coming together is the way in which it revels in nonsensical absurdities, seemingly only to upend the audience’s expectations rather than actually adding anything substantive to the film.
The provocatively titled film centers around Joey (Olivia Taylor Dudley), a lazy, aimless young adult living with her lazy, aimless best friend, Craig (Jordan Gavaris). The pair don’t work or spend their time seemingly doing anything besides partaking in an endless supply of vapes (an overflowing bounty of the trendy nicotine devices sitting in a coffee table basket is a funny sight gag) and drinking at all hours of the day. Oh, and before the events of the film began, Joey was taken in by a seductive alien named Brian (Lou Taylor Pucci), only to escape her tentacle sex-filled life with him after things took an uncomfortable turn. This unusual character background is explained in one long, unbroken monologue relayed to her therapist, delivered at the film’s start.
In this long expository speech, Dudley shows her ability to convincingly supply her character with an impressively wide range of relatable emotions and responses. This sequence plays out in one long take, with no filmmaking to flourish for her to either lean on or hide behind. It’s a stunning scene that Dudley manages to completely sell despite the ridiculous substance of her dialogue. It seems it’s setting up a film that will examine universal aspects of the human experience through a fantastical story, but instead, what follows simply devolves into frustrating insanity.
Joey and Craig soon find themselves forced to take up residence with Brian and his devoted assistant, Laura (Marlene Forte). There, it seems as if the quartet will be able to live a life of strange harmony. However, terrifying but unsurprising truths about Brian are soon revealed, and the pair of friends will have to make some difficult decisions for the first time in their adult lives.
Although the story only gets more and more unsatisfyingly perplexing as it goes on, the filmmaking tools used to tell it are exceptional. Dustin Supencheck’s colorful cinematography and Jess Weber’s creatively executed editing, in particular, work hard to create a kaleidoscopic, oddball, and beautiful visual world to complement the screenplay’s demands. Composer Jimmy LaValle’s electronic, bass-heavy score also transports audiences to Brian’s dark, seductive abode. Additionally, as might be expected given the sci-fi nature of the story, admirably complex makeup effects are used that are a perverse delight to see.
Both leads are excellent, fully committing to the wild tasks they must carry out, both as characters and actors. Dudley gives a thrilling, captivating performance that is wholly invested in every minute. And Gavaris is hilarious and strangely relatable, even when his character makes confusing choices. But still, it’s all for naught when the story just doesn’t work. Randomness rules the day, meaning the film feels as otherworldly and unpleasant as a slimy, tentacled alien.
