Entertainment » Movies

Finding Mr. Wright

by Kilian Melloy
Wednesday Aug 17, 2011
Finding Mr. Wright

The title of the Nancy Kriss-directed "Finding Mr. Wright" is lame, but this low-budget gay indie is a cut above the standard fare, with decent writing, good direction, and even some talented acting.

"Mr. Wright" is Pearce Wright (David Moretti, "The Lair," "Shut Up and Kiss Me"), a life coach who offers "wilderness therapy" to the troubled, but well-heeled, denizens of West Hollywood.

Eddy (Rebekah Kochan, the "Eating Out" films) is just the sort of hot, strung-out Tinseltown mess in need of Pearce's services. So is Eddy's manager, Clark (Matthew Montgomery, "Pornography: A Thriller," "Back Soon") -- not because Clark is marinated in booze and always in trouble with the law the way that Eddy is, but rather because he's addicted to being the guy who swoops in to save Eddy from her latest catastrophe.

Pearce would love to break the dysfunctional cycle of co-dependence that manager and star have got going, but the weekend retreat he's planned is more complicated than that. Eddy needs her whole posse along for the ride, including fed-up publicist T.J. (Rasool J'Han), Clark's ex Cooper (Edward Gusts), Cooper's porn-star buddy Gage (Evan Miller), and Clark's trans secretary Goldie (Keye Chen).

No sooner has this slice of urbana hit the rustic, rugged countryside than the cross-currents of love and lust start up. Pearce is smitten with Clark; Cooper, it turns out, has brought Gage along not for his own amusement but as a gift for his sex-starved ex; and Pearce, meantime, has caught Cooper's eye. It's not long before Eddy, an accomplished manipulator, has assumed the power position in this frantic dynamic and is directing things as she sees fit.

Montgomery, who has established himself in gay film, is adorable, and Kochan brings a trashy glam to her role. But it's Moretti who's the brightest spot in the film. Director Kriss also shows what she can do with limited resources: she's involved in the film's various aspects of production, from producing to editing, and while the movie never rises above its material (and, to be fair, Jake Helgren's script has some fine passages) there's a sense that with Kriss at the helm it's become all it can be: Sweet -- even moving -- funny, and engaging.

Kilian Melloy serves as EDGE Media Network's Assistant Arts Editor. He also reviews theater for WBUR. His professional memberships include the National Lesbian & Gay Journalists Association, the Boston Online Film Critics Association, The Gay and Lesbian Entertainment Critics Association, and the Boston Theater Critics Association's Elliot Norton Awards Committee.


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