Austin Film Festival Movie Review: ‘Don’t Tell Larry’

Written by John Edward Betancourt

Kiel Kennedy and Patty Guggenheim as Larry and Susan in DON’T TELL LARRY.

It is definitely safe to say that comedy film features have undergone quite the transformation over the past few years. For they are… more endearing than they used to be. In that, they tend to feature a detailed plot now. The kind that harbors a deeper message and some lessons, and they also tend to be a little more grounded in reality than we’ve seen in the past. Which isn’t a terrible thing by any means, since stories evolve and go with the times, and right now… that is what people want. But it is something of an outright shock to people that grew up on comedies that were so vastly different in design and structure. 
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In fact, it wasn’t that long ago that comedies were quite wild and worked hard to really offer up some crazy laughter, and if you go further back, they were experimental and bold. Simply because there was a desire to see how far the humor envelope could be pushed. If anything, the dynamic shift in how comedies are made does beg quite the unique question. In that, is it possible in this day and age of kinder, gentler, comedies, to offer up something bold and experimental and in some cases crude? Well as it turns out, there are indeed some creatives eager to that answer that question with a resounding yes, and it just so happens that a dark and bold comedy of note, recently screened at the Austin Film Festival, and Don’t Tell Larry does indeed showcase how there is still room for this kind of comedy.

A feat it accomplishes courtesy of its unique plot. One that introduces us to a hyper ambitious woman named Susan who is on the cusp of having everything she wants. For she is days away from her boss’ retirement and Bruce has made it clear, she’s next in line to take over as CEO of the company. But the arrival of a very weird man named Larry, puts her world into pure chaos. For Bruce reveals that Larry is in fact his long-lost son, and he plans to hand the company over to his baby boy instead of Susan. Which prompts Susan to try and turn Larry against his dad, with disastrous results. For Bruce dies under odd circumstances and soon, other horrible occurrences pop up around the office. Leaving Susan to wonder if she has in fact, unleashed a monster, and now it will be up to Susan and her good friend Patrick to determine if Larry is indeed a stone-cold killer and if so… how to stop him. 

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Which is a plot that really is old school in every sense of the phrase. For it is bleak, angry, and filled to the brim with nasty acts from people that have agendas galore, and it is handled with the twisted humor we found in these types of features back in the day, and it works. For several reasons. In large part, because the story understands what it wants to accomplish. It wants to be that throwback; it wants to push the envelope and being honest in that manner means there’s no gimmicks to be found here. Just raw and twisted comedy, the kind that features some outlandish and delightful jokes… that work. Because every joke, every gag fits the situation perfectly and they produce laughs that are hearty in all the right ways, giving rise to a delightfully demented black comedy that is genuinely enjoyable.
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Yet, there are more reasons as to why this film works so well, and that also lies within the script. For the film’s writers and directors, Greg Porper and John Schimke have in essence blended together what makes comedies work now with the bold nature of what they used to be. Courtesy of characters that are indeed sour in nature and self-serving. Making what we watch cathartic in nature since bad things surround what some could consider to be, bad people. Giving rise to a real sense of karma for these characters and that’s something we all want for the bad people of the world now, that sense of universal justice for their disposition, and when you take that and combine it with elements/commentary regarding the modern corporate work structure, you’re given an inadvertently deeper film than expected, one that resonates in all the right ways. 

But that’s the beauty of this feature. In that, one doesn’t have to think too deeply about the commentary to enjoy it. Because the jokes still work regardless, and the twisted and fun nature of the film doesn’t depend upon it to tell its story. But what matters most, is that this movie really is the old-school throwback that some crave, and perhaps this movie will serve a bold new look at the future. Plus, it doesn’t hurt that this movie is filled to the brim with acting and comedy legends. Since you’ll find Ed Begley Jr. here as Bruce, and even Dot-Marie Jones and Tina Parker pop up in some impactful and amazing roles. And they are all complimented nicely by the lead trio, consisting of Patty Guggenheim (Susan), Kenneth Mosley (Patrick), and Kiel Kennedy (Larry). Which makes this, a perfect comedy when all is said and done, one that really is quite the delight and a reminder that comedy doesn’t have to follow a structure or a formula, it just has to at its core… find a way to be uniquely funny.

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