Andrew’s path to adulthood is primarily related to his friendship with Domino (the unconvincing Dakota Johnson). Andrew meets them at Bar Mitzvah, who is chaperoning his brother. Andrew soon notices her, you bet, and then they shine with each other, talk small stories, and hit the dance floor. The woman smiles very much at Andrew. At one point, a flock of Bar Mitzvah’s mothers took him to the parking lot and hired him as “their motivational dancers,” also known as party starters.
Soon, Andrew will play MC in Bar and Bat Mitzvah, rocking Mitzvah as he roams the rest of his life. Leif uses these parties for visual energy and comedy and doesn’t develop obvious stereotypes, but he flirts with them. Sure, it’s hard to see him squeeze a laugh right away from confirmation and quinceañera, but as he does here, ruining Bar Mitzvah (for a kid named Benjamin Sindler). To), Andrew can have a moment to be taught. As if to reassure the audience that it’s all fun, Domino says at one point, “Sometimes I really envy Judaism.” “Same” Andrew crows.
Raiff is also clearly ambitious as he helped create and produce “Cha Cha Real Smooth.” But if he has anything to say about his life, it’s not clear from this movie. It’s derivative, unconvincing, and as upset as any big studio Soft Cell. It’s full of stylistic clichés (hovering camerawork, Meul’s song), cardboard characters, silly conversations, and ridiculous narrative ingenuity, starting with Domino, the only vessel of Andrew’s narcissism. Raiff cleverly complicates this cliché, but again just to abuse it. Their relationship never makes sense. But then neither does most of the movie.