★★★★

A gem of a discovery, Adam Rehmeier’s Dinner in America is a brash, confrontational comedy until it peels away its rough, sandpaper exterior and shows itself to be a pretty terrific comedy, unapologetic for wearing its heart on its sleeve.

Mirroring the emotional complexity of our main antagonist Simon (a terrific Kyle Gallner), Rehmeier’s film first introduces us to the man as manchild - a manipulative thief - conniving his way into the house of a young woman (Hannah Marks), but eventually into the arms of her mother (Lea Thompson). Once he attempts to burn the family’s house down, we realize that Simon is adrift - a loner without a place to call his own and a street punk on the run from the police, society, and societal conformity.

It takes awhile for we, as viewers, to break open Simon and see him for who he is. However, we also meet the awkward misfit Patty (Emily Skeggs). Seemingly stunted in her maturity, she lives in a meticulously staged home with adopted brother Kevin (Griffin Gluck) and rather aloof parents (Mary Lynn Rajskub, Pat Healy).

Patty loves a local punk rock band PSYOPS and writes letters to its lead singer, a ski-masked screamer known as John Q. Public. And while you may be able to see how those dots connect in terms of the film, Dinner in America brings Simon and Patty together in a number of unique ways. Eventually, Simon links himself to Patty for a few days, like a lost puppy needing shelter, and Patty is all-in on accepting Simon into her home as a new strange and overbearing friend.

Rehmeier has a keen sense of timing and pacing, his film zipping around with the manic energy Simon exhibits externally and Patty’s mind likely experiences internally. Simon, perpetually one step ahead of the police dogging him, is a lost soul, flailing around with a history of destroying anything that comes near him. Patty has never done anything remotely dangerous, sheltered as she has been. When they meet, he lights her emotions on fire and she eventually grounds him.

Dinner in America is a film whose emotional diversions may seem silly when they first occur, but Rehmeier’s terrific screenplay earns those beats every step of the way. If there is a propensity to infuse the film with dated slurs and putdowns, stunting the film in an uneven first 15 minutes or so, the acceptance Simon and Patty allow of themselves and with one another melts much of the scraggle away.

Gallner is a force, commanding the screen but never overwhelming his on-screen counterparts in a performance that avoids scenery chewing and creates a memorable and engaging character. Skeggs, a Tony-Award nominated actor, is wonderful as she grows into herself and finds Patty’s voice, while giving Simon purpose. An impressive array of supporting performers bounce in and out, leaving Rehmeier plenty to work with in his impressive feature-film debut.

And good luck getting “Watermelon,” a song performed by Skeggs late within the film, out of your head. With any justice, and film distribution, it’s profane-laden sweetness would earn a Best Original Song nomination at the Oscars.

As of this review in October 2020, Dinner in America is currently uncommitted and traveling around the virtual festival circuit hoping to land distribution. Here’s hoping someone nabs this up soon and drops it in front of as many eyes as possible. Once it’s rough exterior is peeled away, Dinner in America becomes a fun, unapologetic, defiant, “why-not-us” story of punks finding solace in one another.

An oddly satisfying film for such deeply disconcerting times.

Dinner in America was reviewed as part of the Nightstream 2020 Film Festival.