Tag Archives: Virginia Newcomb

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The Beta Test

by Hope Madden

If Eyes Wide Shut had been a brutal commentary on the film industry and Tom Cruise had been an unsympathetic, insecure, entitled white man…the point is, The Beta Test is a wild, insanely tense satire.

Co-writers/co-directors/co-stars Jim Cummings and PJ McCabe invite you into a world populated by people who miss the days before Harvey Weinstein’s ousting. The two play Jordan and PJ, respectively—Hollywood agents with no real purpose, no real value, a lot of spin, a lot of anxiety, and a chip on their collective shoulders about the stuff they can no longer get away with.

Then Jordan finds a purple invitation in his mailbox and the mystery begins.

Whether or not Jim Cummings has range as an actor is yet to be seen, but as the awkward, barely recovering alcoholic on the verge of a nervous breakdown, he is perfect. His performance here never broaches the level of vulnerable beauty he showcased in Thunder Road, and even the self-centered ineptitude of his werewolf hunting sheriff in The Wolf of Snow Hollow feels wholesome when compared to Jordan.

But somehow Cummings creates moments where you almost root for this guy. It’s a deceptively layered performance at the center of a biting piece of social commentary.

Cummings is not alone. McCabe works well as Jordan’s far more likable (thought probably no more genuine) bestie/worstie. Jacqueline Doke, playing an office assistant who most closely resembles a normal human, injects scenes with a grounding perspective that only makes Cummings’s anxious antics funnier.

Virginia Newcomb —so spot-on as the disbelieving spouse in 2019’s underseen treasure The Death of Dick Long — is once again excellent in the role of a partner who just cannot believe the behavior of the man she loves. Her role is a bit underwritten, unfortunately, but she and Cummings play off each other well.

Outrage roils beneath the surface of this film so loudly that it almost drowns out the actual plot, which is fine. The mystery itself, convoluted as it is, mainly allows Cummings and McCabe opportunities for inspired, seethingly comical hijinks.

Hillbilly Elegy

The Death of Dick Long

by Hope Madden

Director Daniel Scheinert (Swiss Army Man) walks an amazing tight rope between hillbilly stereotype and sympathetic character study with his latest, The Death of Dick Long, a crass comedy with deeply human sensibilities.

Zeke (Michael Abbott Jr.), Earl (Andre Hyland) and Dick (Scheinert) work on some Nickelback covers for their band, Pink Freud. Band practice out at Zeke’s ends late, long after Zeke’s misses (Virginia Newcomb, excellent) and their daughter (Poppy Cunningham, also excellent) head off to bed.

The fellas get a little weird, things get out of hand and let’s just say Pink Freud won’t be touring.

Yes, we have all witnessed films situated within the world of dive bar cocktail waitresses and their paramours. Tailer parks, mullets, giant prints of tigers, they’re all here. But what makes Dick Long kind of miraculous is how generous Scheinert, writer Billy Chew and the whole cast are with these characters.

Really, generous to a degree unseen in a comedy of this sort—which is to say, the sort of comedy built entirely on the idiocy of its white trash characters.

As Scheinert slowly unearths the details of the mystery, a lesser filmmaker might wallow in inbred, backwoods, banjo pickin’ gags. Not this guy. The more unseemly the subject matter, the more bare the soul. Abbott’s inevitable vulnerability is almost alarmingly heart wrenching given the comedic tone of the film and the actual crime committed.

Likewise, Newcomb mines her character and this situation for something honest enough that you wonder what the hell you would do if you were to find yourself in this situation. Her performance has the texture of a long and comfortable relationship suddenly and irreparably busted.

Hyland’s Earl, on the other hand, is straight up hill jack comic gold, but even this performance sidesteps broad strokes and finds a recognizable, human soul.

There’s not a single performance in the film that isn’t a welcome surprise. And underneath it all, Dick Long reimagines small town masculinity, isolation and loneliness.

Daniel Scheinert follows up on the promise of the crowd favorite madness of Swiss Army Man with a crime caper of a wildly, weirdly different sort. I’m all for his brand of lunacy.