“Dinner in America” is the name of an album by Psyops, Simon’s (Kyler Gallner) band. However, by the time we see him in “Dinner in America,” written and directed by Adam Rehmeier, we get the impression he hasn’t been to band practice in a while. Misdemeanors and felonies follow him, his familial relationships are in tatters, and he doesn’t even have a place to stay. Will a chance encounter with a shy yet quirky girl (Emily Skeggs) in America’s suburbs who’s obsessed with his band give him a new lease on life?
“Dinner in America” is the first film I’ve watched for the 2021 Reel Love Film Fest, dedicated to depictions of love in cinema. And, I have to tell you, despite the film’s aggressive and chaotic opening, the film is a solid hit. It’s the type of movie we’ve seen before, yet one we’ve never seen: a film that has one foot in the roots of the ‘long weekend/buddy comedy’ motif and the other planted firmly in coming of age/romantic dramedy. And on top of it all, it is unlikely sweet, presenting real characters we can root for. It’s unmistakably indie; and, as is usually the case, it’s all the better for it.
To characterize “Dinner in America” as a romantic comedy is to do it a disservice. Honestly, to even label it a romance is to do the same. What it is is a coming-of-age comedy that, while quirky, is so authentic as to almost be a documentary of human emotion. Its leads (Kyle Gallner, Emily Skeggs) share a chemistry so perfect, not because they are meant to be, but because they are real and have much in common. They are so real, in fact, that their union doesn’t make sense on any kind of dramatic continuum. They are simply characters who are who they are, and somehow find solace in each other. I don’t know why films like this aren’t more popular; they should be.
This film works like a chisel on hard granite: it slowly chips away at your preconceptions and works its way into your heart. Part of the reason for that is its setting—namely suburbia—which many of us can relate to. Another part of the reason is that it is really funny, with Skeggs’ Patty delivering the appropriate amount of shyness and quirk, and Gallner supplying constant irritable anger, which comes off often side-splittingly funny (read: Simon curses a lot here).
But the film works on another level, at one time making the audience laugh while commenting in a non-biased way on the humdrum and unhealthy attitudes of the families and friends of its leads. “Dinner” is in the film’s title, but also works on another level here: we see dinners of American families, full of contention, judgement, and passive-aggressiveness. Bullies and aggressors confront both daily. It’s a cold world out there; but Simon and Patty find something in each other this side of genius: acceptance and encouragement to be their best.
This film works like a chisel on hard granite: it slowly chips away at your preconceptions and works its way into your heart.”
The cast here is perfect. Gallner, who I last saw in 2010’s “A Nightmare on Elm Street” is allowed to really blossom into a character, and at no point in “Dinner in America” is there any trace of Kyle Gallner: there is simply Simon. Likewise, Emily Skeggs slides into the role of Patty with ease. She’s introspective and quiet, and there’s a special quality to watching her come out of her shell during “Dinner in America’s” run.
Aside these performances, the real beauty comes out in how Gallner and Skeggs bounce off each other. They make sense as a couple because they make sense as people. Simon ends up on the wrong side of the fist against a couple of jocks as he defends Patty, but Rehmeier’s script is full of life, allowing Patty to defend Simon against his family later on. And, say what you must, a later scene between Simon and Patty in his car, as she lets societal abuse get the best of her and wonders if she is as bad as everyone says, is emotional, real, and awe-inspiring. It’s worth the price of admission alone.
“Dinner in America” also dabbles its hand at music, the pair creating their own punk rock song, which is the eye of the storm of the chaos; who knew that Patty could sing…but the look on Simon’s face as she finishes says it all.
The film is filled with ancillary characters, and the ones I liked the most were Mary Lynn Raskjub, who plays Patty’s mom, and Griffin Gluck, who plays her brother Kevin. The cinematography by Jean-Philippe Bernier is pleasing, showing America’s suburbs and somehow making them seem lovely. Never before has a date in a fast-food restaurant seemed beautiful and soulful, but I’ve just finished watching “Dinner in America,” and here we are.
“Dinner in America” is an odd-duck of a film that’s worth its weight. It is a fun, comedic story that works trifold as a romance, a coming-of-age story, and a buddy comedy all in one. It erases any notion of relationship stereotypes and allows audiences to instead wade alongside people we grow to like and make sense together. Its ending is a bit chaotic and off-the-cuff, but it works. This isn’t a transcendent film, but one you’re happier for having sat through: as the credits rolled, it occurred to me I wished I could have spent more time in Simon and Patty’s world. It says something about a film that its makers can stir a feeling like that. That in itself may be “Dinner in America’s” greatest achievement.
*This review was written from the film’s day 1 screening at the 2021 ‘Reel Love Film Fest’ programming.
