Director Jarrod Carmichael's "On the Count of Three" character is a black comedy, and for today's success, black comedy films need more sympathy, and these words describe the film well. Gerrod did not do a remarkable job of pushing the fine line between comedy and drama but realized that the line did not really exist.
"On the Count of Three" begins with two childhood friends, Wall (Carmichael), and Kevin (Christopher Abbott), aiming guns at each other at the point-blank range. Stay together, ready to commit double suicide together. Early in the morning, Wal reveals that he was frustrated with his job and ended his long-term relationship with Natasha (Tiffany Haddish) in order to get KV out of the hospital. After years of restless treatment for mental illness, Kevin attempted suicide three days ago, and Val reports that he realized that thought when he heard the news. Despite not opposing the plan, Kevin requests that one last day lives without consequences, allowing both of them to face their past griefs and present their resentment more sincerely than before.
As expected from a black comedy, a written summary does not leave room for humor, however, there is plenty in the original film. Wall and Kevin have very different ways of understanding the world, and although they are unified in purpose, they choose it in very different ways. Kevin is honest and raw, his pain is an open wound, he does not hesitate to share with the world, and the habit of crossing boundaries when he speaks reveals laughter as a reflexive response to shock. Meanwhile, the tail retreats and stagnates, and his contemptuous attitude destroys any sense of meaning in his life. His comments, wrapped in humor, may seem like a bitter joke and an unpleasant truth. Kevin explains Wall's stereotypical masculinity's inability to speak openly about his feelings; Tail scoffs at Kevin's tendency to be overly dramatic. There is an honesty in the way they hurt each other, which is the difference between the film-making lights of a serious issue and the characters trying to do it themselves.
Another important ending to the comedy in "On the Count of Three" is the context, where the film has a relatively low balance. The first half of the film has two scenes, one involving the final work of the sword and the other a casual encounter with someone from Kevin's past, which is both painful and hilarious. Like Sword's real jokes, they combine familiar anger and deep emotional pain, but the intense sense of humor applies to the world of cinema itself. There’s an honesty here, too, as to how close these moments are to their own lives as opposed to the audience’s laughter. However, as the story progresses, the distance between the characters' experiences and everyday reality increases. While it's not going to hurt the audience, the second half of the film certainly carries its weight.
Interestingly, Carmichael anticipates this problem in the script and works to balance many of the scenes by playing them directly and completely. Through his meticulous use of color and his willingness to capture his cast in the workplace, he creates a tone that allows for a comfortable transition from comedy to drama and back to back. He used the friendly and engaging comedians of Hadish, Henry Winkler, and JB Smoo, and his main purpose was not to make them laugh but to place them in the scenes. In this way, director Carmichael keeps the film on the ground for as long as possible, a flex of filmmaking talent found in an extraordinary feature. While it may not be able to maintain its earlier heights, the relative success of its ambition in the "three" is certainly remarkable, and not far from its base. They will not regret finding it.
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