Mark:

To say that Josh Jarman is underwhelming would be to understate the case against this fairly ordinary film featuring the exploits of the eponymous Josh.

The man himself is a struggling playwright, whose chance meeting with the daughter of a major producer might be the one big break he needs – but will his integrity survive? This really is the barest of plots on which to hang a film, and requires the introduction of two subplots – a will they/won’t they, and an afflicted housemate – the second of which fails to be in any way entertaining.

The only enjoyable section of this film deals with the developing relationship between Josh (Marcus Graham) and Maxine (Daniella Farinacci) – there is a gentle touch displayed that indicates Pip Mushin could potentially one day direct an A-grade romantic comedy. Sadly, this adequate mid-section is betrayed by the surrounding flab. Russ, the aforementioned afflicted housemate and best friend, has a problem that seems thrown in only to create an irrelevant and unnecessary political statement, and otherwise offers very little to the development of the story or the characters. That he is adequately played by Damien Richardson is beside the point. His efforts only show up this tangent to be just that… a distraction.

Graham and Farinacci are reasonable, although why Mushin required Graham to perform as a bumbling, neurotic, insecure, giggling virgin I’ll never know. He does it well, but the lead character needed something more. Similarly, the ‘dramatic’ issue for Farinacci to resolve is absurd, and really limits the effect of her role as Jarman’s romantic interest and conscience. Why it was felt necessary to subject her character to this limitation is unclear.

Kym Gyngell enhances his reputation as a first-rate character actor, with an excellent turn as the megalomaniacal producer extraordinaire, and ‘it girl’ Kestie Morassi also tries hard to give some spark to an otherwise dismal script. Neither of these fine actors however, can affect the simple fact that there just isn’t enough within this film to warrant feature treatment.