SAVE THE DATE is an uproarious romantic comedy (Part of Dallas International Film Festival)

        Save the Date is a laugh-out-loud, sexy, indie-comedy about the romantic quarrels of 20-something couples. Sisters Sarah (Lizzy Caplan) and Beth (Alison Brie) have a close relationship, and also date two men who are friends and perform in the same band. Actor Geoffrey Arend, who claimed his super-cool geek status in the cult comedy, Super Troopers(2001), balances both humor and volatile behaviors as Kevin, Sarah's love interest. While performing in a drunken stupor, Kevin proposes to Sarah in front of everyone at the concert. Kevin is rejected by Sarah and the two separate. While Kevin drowns his sorrow with pot and alcohol, Sarah moves on with her life, forming a new relationship with Jonathan (Mark Webber). By sheer accident, Sarah gets pregnant, and is expecting the baby the same time her sister is getting married. Is she going to have the baby?
      The film places less emphasis on the plot development, and more emphasis on Sarah's own development; the daunting tasks of being completely open with someone else. Besides the deft perception of these skeptical, yet smartly written characters, the qualitative filmmaking enhanced my overall reaction to the film. For examples, the transition into some of the morning scenes begins with an overhead shot of Sarah's cat lying on the bed, bathed in the warm sunlight. I’ve always thought that a feline on a bed or couch exudes a pleasant, calendar-like image. More cleverly, the cat, which first exists in the background, becomes involved in the plot.
      Other scenes I admired were of Kevin's band performing on stage. The camera begins on a tight shot of the microphone and then smoothly tracks back until the band members’ step into the center of the frame. The precise composition of the camera movement, mixed with the bright-neon club-lights creates a cool, rock-concert vibe, which stands out from the rest of the more hand-held visual style. I was quite fond of the frequent use of the zoom-lens. Directors are hesitant of zooming, afraid that the quick compression of the shot will distract from the story. It’s a technique that mainstream directors connote as dogmatic or sloppy, but honestly, I think it’s the greatest voyeuristic tool.
      The main reason why I thoroughly enjoyed this comedy is that all of the characters click so well—the sarcastic dialogue bounces back and forth like a swift game of ping pong. When they converse, their innate goofiness and emotional confidence bubble to the surface.
      The film ends mid-sentence—a sharp cut to black, leaving the plot hanging with assumptions. Some audiences might get a little frustrated with the abrupt ending, but it correlates perfectly with Sarah's character development. It’s not about whether Sarah intends to keep her child, but her conscious willingness to open-up and mature within a relationship. Since the film doesn’t have any A-list stars, distribution is at a stand-still. I surely hope the big leagues of the industry enjoy it as much as I did, and give this uproarious romantic comedy a proper theatrical release.

*** (out of four stars)