A technology obsessed, New York City dwelling hipster couple are forced to re-examine their seemingly perfect relationship when Hurricane Sandy hits their apartment and cuts off all power in the indie comedy, 3rd Street Blackout.

It begins as a fun and innocent situation between bespectacled and quirky Mina (Negin Farsad) and her boyfriend, bespectacled and awkward Rudy (Jeremy Redleaf), whose cutesy selves indulge in terrible rap battles and other trite offerings of hipster conversation-ing. Besides that, she’s a neuro-biologist (although all we ever see of her is gratingly overplayed Millennial slang), he’s a boring hacker who doesn’t even believe in himself enough to further his own involvement in a startup company with his two best friends.

Things turn serious, or about as serious as the film wishes to get, when a city-wide blackout brings to light a recent hookup with Mina and a hunky rich and British venture capitalist Nathan Blonket (Ed Weeks), who fancies Mina enough to fund her vague scientist research. The film over-cuts in non-linear time, jumping all over the place between real time events of Rudy and Mina’s separate dealings of heartbreak in a darkened city, with that of the “fun times” events that led to this point. This easy digest film poses the question, is their love strong enough to withstand a national disaster and personal heartbreak? 

Blackout doesn’t need to rely on empty crass humor that defines this generation’s smart-alecky commentary to get a laugh, as it would have still been entertaining and even funnier without the abundance of dirty jokes.

 

Assuming lead character roles, Farsad and Redleaf also serve as co-directors, yet this is a case where their directorial sensibilities might have been better served strictly behind the camera, or being more aware of their own on-camera performances. Audience reaction may have benefitted from a more confident Rudy while Mina should have been equally toned down, whose sing-songy Zooey Deschanel-hipster cadence wears thin the more the film rolls on.

Fortunately, the film keeps a light and fresh tone reminiscent of a sitcom TV show. It seems as if the actors, both lead and supporting, have a background in improv comedy, as their naturalness on screen is at least played casually enough that it’s mildly humorous and not offensively off-putting.

Because of the film’s naturalness, it seems unnecessary at how often the film indulges in casually crass conversation. The first time you hear a blue joke, it can be funny. The 25th time? Not so funny, and slightly disheartening. Blackout doesn’t need to rely on empty crass humor that defines this generation’s smart-alecky commentary to get a laugh, as it would have still been entertaining and even funnier without the abundance of dirty jokes.

Those who are drawn to films like Appropriate Behavior or Wild Canaries will find appeal in Negin Farsad and 3rd Street Blackout. It’s a film that we can all probably relate to in one way or another. With its over-indulgence in empty moments and a mildly appealing plot, it wouldn’t matter much one way or the other if someone pulled the plug on this movie.

3rd Street Blackout is playing on June 15th at 8:30 PM during the LA Film Fest. Tickets here.

[youtube height=”360″ width=”640″]https://www.youtube.com/watch?v=NfaK9kMLXtA[/youtube]