Rid of Me

A spoiler light review of Rid of Me should begin with tone, because James Westby understands exactly how this comedy ought to feel. Rid of Me gains early credibility from Katie O'Grady, whose presence is balanced by the different rhythm of John Keyser. The foundation of Rid of Me can be stated simply: A scathing black comedy of embarrassment, RID OF ME charts the emotional breakdown and rebirth of a woman ripe for self discovery. Within its 1h 30m running time, Rid of Me reveals both the benefits and the limits of that disciplined approach.

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James Westby shapes Rid of Me with an approach that feels alive in individual scenes and uncertain between them. The best directed passages in Rid of Me establish an objective, let the characters respond and then allow the pressure to change naturally. The cast and craft keep the experience watchable in Rid of Me, particularly when James Westby resists the urge to underline an already clear emotion. My main reservation about Rid of Me is that too many scenes explain effects the actors have already suggested, a limitation that interrupts rather than defines the experience.

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Beneath its plot, Rid of Me is most interested in embarrassment, status and the gap between confidence and reality. That concern becomes visible through Katie O'Grady, whose choices allow Rid of Me to explore an idea without stopping for a speech. RID OF ME gives the themes of Rid of Me a concrete dramatic form rather than leaving them abstract. The emotional value of Rid of Me grows whenever James Westby trusts the audience to connect behaviour with the larger question.

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Rid of Me is most involving when the screenplay allows RID OF ME to complicate what initially appears to be a story about the central character. That shift gives Katie O'Grady a more specific problem to carry through Rid of Me. Working from material credited to James Westby, Rid of Me reveals an important relationship at a measured pace instead of rushing toward its largest turn. The later pressure around a difficult choice shows why Rid of Me benefits whenever cause and consequence remain visibly connected.

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Katie O'Grady gives Rid of Me its most dependable performance, finding a clear emotional intention beneath the plot. Opposite Katie O'Grady, John Keyser brings Rid of Me a contrasting pace that prevents the central relationship from feeling flat. Storm Large widens the ensemble of Rid of Me through reactions that suggest a life beyond the immediate scene. James Westby serves the cast of Rid of Me best when a look or pause is allowed to finish before the story moves on.

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The craft of Rid of Me is defined by comic timing built around character, supported by comic timing built around character rather than overwhelmed by decoration. Alcove Productions/Parkwood East Film Co. gives Rid of Me a production framework in which well judged reactions can remain connected to story. Made from a United States production context, Rid of Me uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Rid of Me works because image, sound and editing appear to be serving the same immediate purpose.

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Overall, Rid of Me amounts to an uneven film with enough personality to remain interesting and should suit comedy fans who respond to personality and timing. The combination of Katie O'Grady, James Westby and comic timing built around character gives Rid of Me a specific identity. Although too many scenes explain effects the actors have already suggested in Rid of Me, the film recovers through craft and committed performance. For the audience it understands, Rid of Me offers enough character to remain worthwhile after the immediate plot has faded.