Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
A simple approach to art can be a virtue when chaos reigns in the world. Just like the neo-folk music that serves as its soundtrack while providing an emotional salve for its characters, “Song One” initially serves as a lilting if sometimes downbeat respite from the cacophony that often passes as cinema today.
But even a stripped-down emo-ode to the healing power of music needs to build up to a satisfying crescendo. In her feature debut, writer/director Kate Barker-Froyland tends to tiptoe away from the dramatic high notes that audiences often crave and comes up a stanza or two short from a fulfilling resolution.
Often, “Song One” feels like the timid B-side of last summer’s more satisfying music-biz saga, the much less woe-is-me and a lot more let’s-have-some-fun “Begin Again.”
Unlike many low-budget indie titles, however, the novice filmmaker does have the benefit of a couple of actual stars in her cast. They go far to help carry this story about how a young woman reconnects with her family in New York after a car accident leaves her estranged brother (“Boardwalk Empire’s” Ben Rosenfield), a Brooklyn-based busker, in a coma.