One Small Hitch

A spoiler light review of One Small Hitch should begin with tone, because John Burgess understands exactly how this comedy ought to feel. One Small Hitch gains early credibility from Shane McRae, whose presence is balanced by the different rhythm of Aubrey Dollar. The foundation of One Small Hitch can be stated simply: Josh's girlfriend wants to get married. Within its 1h 45m running time, One Small Hitch reveals both the benefits and the limits of that disciplined approach.

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The most useful technical choice in One Small Hitch is well judged reactions, because it helps the audience understand both space and mood. Principle Entertainment frames One Small Hitch through well judged reactions without letting surface finish replace character. Drawing on its United States background, One Small Hitch uses performer rhythm to give familiar material a more specific texture. Cinematography, sound and editing meet effectively in One Small Hitch whenever a sequence must feel large without losing its human scale.

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What keeps One Small Hitch emotionally readable is Shane McRae, whose choices establish a consistent point of view. In scenes with Aubrey Dollar, One Small Hitch gains tension from two performers refusing to produce the same kind of energy. Daniel J. Travanti contributes a separate rhythm to One Small Hitch and helps the supporting material feel less purely functional. The direction by John Burgess gives the cast of One Small Hitch room to connect the quieter beats with the larger ones.

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John Burgess shapes One Small Hitch with an approach that feels dependable even when the material becomes familiar. The best directed passages in One Small Hitch establish an objective, let the characters respond and then allow the pressure to change naturally. Familiar choices gain value from committed execution in One Small Hitch, particularly when John Burgess resists the urge to underline an already clear emotion. My main reservation about One Small Hitch is that some developments arrive well before they surprise, a limitation that interrupts rather than defines the experience.

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One Small Hitch finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Shane McRae, One Small Hitch makes that examination feel personal before it becomes broadly symbolic. The idea of Josh repeatedly returns One Small Hitch to the cost behind its more visible developments. John Burgess is most persuasive when One Small Hitch allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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The plot of One Small Hitch is built around the uneasy relationship between Josh and Molly. For Shane McRae, that relationship gives One Small Hitch an emotional objective stronger than simple forward motion. The screenplay associated with Dode B. Levenson lets Chicago reshape the direction of One Small Hitch in stages. Although the treatment of Comedy could be sharper, One Small Hitch never entirely loses the thread established at the beginning.

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For comedy fans who respond to personality and timing, One Small Hitch is ultimately a satisfying recommendation with minor reservations. Its most persuasive combination in One Small Hitch brings Shane McRae together with performer rhythm under the direction of John Burgess. The fact that some developments arrive well before they surprise prevents One Small Hitch from being entirely seamless. Even with that reservation, One Small Hitch has a clear point of view and enough genuine feeling to justify the journey.