Jacob Tierney’s new film Good Neighbours is about as different from his last film The Trotsky, as The Trotsky was from Tierney’s first film, Twist. What do you do with a whodunit where you know who did it somewhere around the one-third point of the movie? How can you find a likeable character amongst a group of socially awkward characters with a number of obvious psychological maladies? Is this a Hitchcokcian mind game masquerading as dark comedy, or is this a sitcom written by Stephen King? Good Neighbours is all those things, and more.
A satisfying dark comedy with a thoroughly malicious bent, the act of watching Good Neighbours is equal parts enjoyment and equal parts bewilderment. It’s one of those movies that requires a second viewing so that you can make sure that you have the details right in your head. It’s not that the film is confusing, at least not so far as the plot goes. I, personally, wasn’t even sure that I liked the film until I started talking about it with other people. If you’re someone that likes to go to the café or bar after a film and hash out the details and the meaning of certain scenes and character actions, congratulations, you’ve found your summer obsession.
The film begins against the back drop of the 1995 Quebec Referendum on sovereignty. Victor (Jay Baruchel) moves into a building in the Notre Dame de Grace neighbourhood of Montreal, and right away is introduced to Spencer (Scott Speedman), a widower who lives downstairs and is stuck in a wheel chair, and Louise (Emily Hampshire), who’s employed in Chinese restaurant, and who Victor is immediately attracted to. Spencer and Loiuse have a unique friendship, but the only thing they really talk about is a serial killer working his way through women victims around the NDG. Into their perfect little dyad comes Victor, a well-meaning school teacher that tries to make a good impression with Spencer and Louise, but doesn’t realize he’s kind of an interloper.
Based on the book by Chrystine Brouillet, Tierney’s script challenges many preconceived notions of genre and plot development, while still developing some fascinating story ideas based around these three very odd ball characters. The trouble is that a lot of it is almost too good to spoil, but needless to say, you will either find yourself bound by fascination or rolling your eyes in disbelief. The film has the potential to make the viewer go either way with the plot developments. Good Neighbours is one of those movies that doesn’t make it easy to decide who to root for, and who to root against, and to some people that’s the difference between love and hate.
Technically speaking, if The Trotsky was homage to the sunny disposition of American high school movies in the 80s, Good Neighbours is its gritty and dark 70s cousin. Aided by the predominately winter setting, there’s a palpable sense of foreboding to the way that Tierney shot the film; it reminded me of Dean Cundey’s work with John Carpenter on Halloween. Shots are very deliberate, not relying on any hand-held camera work and going purely old school with lots of tracking shots on dollies. The film doesn’t draw attention to itself, and seems mostly about telling a good, compelling story, which leaves a lot of the heavy lifting to the actors.
On that note though, Good Neighbours is fortunate in casting decisions. Baruchel buries his man-boy persona under a Grizzly Adams-style beard and a demeanour not unfamiliar to anyone that’s ever seen Woody Allen act in a movie. Speedman tackles an out of character persona portraying Spencer as bitter, a little cynical and a little malevolent. It’s a really good role for him considering his built a career on playing the nice guy that finishes first. Hampshire, who like Baruchel is a transplant from The Trotsky, is interesting as Louise, a woman that seems so detached unless she’s talking about a serial killer or her cats. Hampshire is so marvellously understated, that even Louise’s most extreme character quirks come across as endearing.
But like a lot of good movies, I think Good Neighbours will be divisive in a good way. It’s a dry, black comedy that pushes the envelope of good taste and the definitions of genre filmmaking. It’s old-fashioned filmmaking with a post-modernist twist throughout. The acting is solid, and the artistry and control by filmmaker Tierney is unquestionable. Amongst all the blustery, blockbusters of summer, Good Neighbours is a movie you can get your head around, whether you fell good doing it or not.
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