Four forty-somethings each mired in some sort of mid-life malaise reunite their 90’s indie rock band.
Screenwriter and actor Jeff Auer appears early, on stage, under a wig as Bruce, lead singer for “The Incoherents,” rasping out unintelligible lyrics to an incongruously adoring audience. Afterward, groupies share their booze and drugs, while his business manager shares bad financial news. As his dream segues into a middle-aged nightmare, Bruce suddenly jerks awake from a deep sleep on a keyboard in his office. Back in the ’90s, his band experienced short-lived celebrity before breaking up on the cusp of fame, boasting only one – though perhaps semi-classic – album to their credit.
Fast forward to a clean-cut, older Bruce working as a paralegal to pay the rent. Oddly, he thrives on mundane, boring work, despite the fact that he obviously harbors hope for deeper career meaning. After all these years, he finally settles on the idea of getting the band back together.
As such, the list of rock and roll movies coming in all shapes and sizes fills the archives with excellent titles. Though each invariably presents its own take, the competition in the genre nonetheless remains keen. This particular entry feels most like “This Is Spinal Tap,” the mockumentary chronicling the comeback attempt of a group of formerly famous, now aging rock stars.
To its credit, “The Incoherents” seeks to breathe life into a laudable premise – recapturing lost fame and glory. Who could blame Bruce and company for wanting to do the same? Still, whether it’s too many loose ends that never quite coalesce, or not enough punchy quips, the narrative frequently fails to capture the potential of the material. A few chuckles here and there, some interesting spousal dialog about family and careers, an annoying sister-in-law who successfully debuts a sappy novel, insightful recording industry banter – somehow the individual pieces never combine to create a greater whole.
Having said that, one important and likely underappreciated element of the film is the cast, comprised exclusively of highly competent, lesser-known actors. Alex Emanuel as Jimmy, the former rhythm guitarist seems content running a bar, though he never forgave Bruce for breaking up the band. His retired electric guitars lovingly hang in a room off the bar, as if awaiting redemption. Kate Arrington plays Bruce’s wife Liz, a graphic designer who also longs for a more meaningful career, insisting that Bruce share child-rearing responsibilities in order to free up her own work schedule. Perhaps best of all is Robert McKay as George, who runs the law firm where Bruce faithfully serves.
Recoding industry reps also get attention as well. Margaret Anne Florence as Debbie shows up unexpectedly as a dedicated fan and blogger who helps the band line up gigs with more than four people attending. Amy Carlson, best-known as Donny Wahlberg’s wife in the television series “Bluebloods,” comes off as a hard-nosed agent, wise in the ways of social media and band promotion. Annette O’Toole gleefully rents a smelly, rundown studio for the group’s comeback rehearsals.
Another added treat is the contrast between past and present. For many of us, the 1990s doesn’t seem so long ago, yet the old songs preserved on cassette tapes, as well as the complete absence of social media, makes clear that much has changed over the past twenty-five years. Aerial shots of urban cityscapes pan vibrantly across the screen as the rock music pounds in the background.
Directed by Jared Barel, “The Incoherents” puts on display the mid-life crisis of several forty-somethings aching to relive the past. Promising in concept, the film too often misses its opportunities to craft a tale that goes beyond the ordinary.
Now Available on DVD & VOD
