Oscilloscope Laboratories/Factory 25
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Onur Tukel
Screenwriter: Onur Tukel
Cast: Dylan Baker, Trieste Kelly Dunn, Ivana Milicevic, Lou Jay Taylor, Matt Walton, Christine Campbell
Screened at: Critics’ link, NYC, 3/2/20
Opens: February 14, 2020
In just 85 minutes writer-director Onur Tukel compresses three years of seemingly endless political discussion into a stagy tale spotlighting Dylan Baker, whose somber performance as a Russian spy in “The Americans,” goes against type as Cameron in “The Misogynists.” This hilarious tale, one that sends up Cameron who stands in for a type of Trump supporter that Hillary once called “deplorables,” deliberately portrays Cameron as a one-dimensional racist, homophobic, prejudiced, misogynistic citizen and voter, standing in as a the kind of person who may not express his bigoted ideas at the workplace or at home but is free to let loose in locker talk with his best male friend.
Cheering as he probably had done many times in his life, this wealthy businessman, separated for four months from his wife and living in a luxury hotel in Manhattan, is over the moon when on election night in 2016 the media calls Donald J. Trump the winner of the presidential election. His pal Baxter (Lou Jay Taylor) is a more nuanced gent, possibly a liberal at heart but seemingly able to be convinced under the right circumstances, with the right shots of Vodka and lines of coke, to find common ground with his boorish compatriot.
For the most part what Cameron likes about Trump is only partly the commander-in-chief elect’s plan to build a fortress America on our southern border but mostly because this victory will symbolize man as ruler, leaving woman to cook steaks in the kitchen. Cameron cannot credibly be called the voice of the Christian Right, the Evangelicals, who may have held their noses when they voted for the developer, but more akin to the white nationalists, the anti-elitists, the know-nothings, really, like the folks in that political party who in the 1840s bonded with like-minded Protestants who feared a conspiracy to undermine their religious and political values.
Playing the part of Cameron’s straight-man, Taylor evokes the impression of a klutz who is likely in conflict with all sorts of things in his life, including his ties to his wife Alice (Christine M. Campbell), who calls him on her cell demanding that he come home, the controlling woman who is often the target of Cameron’s wrath. His own political beliefs in conflict, Baxter would like to fit in with the views of Cameron, the dominant male, but he is neither a Hillary voter nor a Trump supporter. Given the curfews that Alice appears to set down, Baxter could readily go whole-hog over to Cameron’s position that men should rule.
Some of the sharpest dialogue occurs between the hotel guests and a Mexican-American busboy (Rudy de la Ctuz), inviting the lad to extend his break and do some lines. While you might expect the busboy to be anti-Trump, he, like some of friends, simply did not vote. He cares not a whit what the resident in the Oval Office has in store for people like him. Best of all is the exchange of obscenities between Cameron and the two hookers, Sasha (Ivana Milicevic) and Amber (Triests Kelly Dunn), who for their part get thrown out of the cab by the driver, Cairo (Hemang Sharma) for insulting Muslim men.
Dylan Baker turns in a spot-on performance, emerging from his previous, quieter roles in “The Good Fight” on TV and “Anchorman 2.” Almost all the action takes place in a single room, the TV performing as a separate character turning itself on and off and showing clips in reverse order.
83 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online
Story – A-
Acting – A-
Technical – B+
Overall – A-