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Review: Two slackers are short on rent in ‘One of Them Days,’ an L.A. comedy with extra moxie

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Titled “One of Them Days,” this hilarious buddy comedy revolves around two L.A. roommates scrambling to pay rent within nine hours. Just like savoring pancakes at midnight, you’ll relish every moment of this movie! Interestingly, one of the main characters, Dreux (played by Keke Palmer), works the late-night shift at a famous 24-hour diner on La Cienega – Norms. Remarkably, this simple, round-the-clock eatery has been recognized as a Historic-Cultural Monument. This film, much like other casual, crowd-pleasers such as “Friday” or “Smiley Face,” has become something unique: an R-rated hangout movie that was once taken for granted but today, its very existence should be celebrated!

Friends Dreux and Alyssa (musician SZA’s Grammy-winning companion) reside in a shared courtyard apartment in Baldwin Hills. One day, their thrifty landlord Uche (Rizi Timane) claims he hasn’t received the $1,500 rent for that month. Keshawn (Joshua David Neal), Alyssa’s handsome and well-endowed boyfriend, had the money; now, neither he nor the cash can be found. The deceitful man has left them in a tight spot – they risk being homeless by evening unless they manage to quickly gather some funds.

As a fan, I’m thrilled to delve into the creative world of Lawrence Lamont and Syreeta Singleton, both veterans from television who have now ventured into feature films with an audacious flair. Notably, Singleton was the mastermind behind the series “Rap S—.” Our duo has crafted a film that boldly struts through a lively and humorous interpretation of L.A., seamlessly blending genres such as western, action, romance, and even Grand Guignol.

In this intricate narrative, our heroines are on the trail of Keshawn, leading them to the bedroom of his current companion. Suspensefully, a tuft of hair drifts ominously across their path. “Tumbleweave,” Dreux murmurs with apprehension. Moments later, Berniece (played by Aziza Scott) gives chase down the street, her hands slicing through the air like the relentless T-1000.

Daily issues are fueled by adrenaline. Alyssa envisions Berniece charming unworthy Keshawn in a vibrant twerking dreamscape; getting fast food from a drive-through unexpectedly becomes a high-stakes game. When the women attempt to acquire a loan from a predatory payday lender (their slogan: “We’ve got you, we’ll get you!”), the clerk (hilariously played by Keyla Monterroso Mejia from “Curb Your Enthusiasm) points out an advertised interest rate of 1900.5%. Dreux exclaims in shock, “I thought that was the year of establishment!

Music

In the fast-paced streaming era, the artist-composer waited six years before releasing new albums – an exceptionally long gap. However, this delay has paid off as she’s now among the most prominent and daring figures in contemporary pop music.

Life is particularly tough for those living hand-to-mouth when the month begins, as they scramble to gather sufficient funds to cover their expenses. As Deaux and Alyssa frantically search for money to save their home, other Los Angeles residents peer anxiously from their windows, fearing they might face a similar predicament. The courtyard of the building operates like a miniature economy, almost an ecosystem, with its residents bonded by their shared struggle to make ends meet. Mama Ruth (Vanessa Bell Calloway) runs a snack stand out of her living room, while Jameel (Dewayne Perkins) offers haircuts near the stairs. Despite this, they face challenges such as a broken air conditioner and a dangerously failing roof. Uche is keen on evicting the tenants, renovating, and eventually gentrifying the property. The arrival of the first white resident, Bethany (Maude Apatow), causes Deaux to express a worried “Ruh-roh.

In a humorous and unconventional way, this movie with its shaggy charm keeps you engaged, as you eagerly anticipate the comedic moments when the main characters tumble down, such as in a blood bank, a brawl, or an ambulance. The duo of SZA and Palmer is delightful, not quite resembling the classic odd couple, but more like two eccentric individuals who complement each other. SZA’s character, Alyssa, is a free-spirited individual with flowers adorning her car and stuffed animals on her shoes, reflecting her bohemian lifestyle. Much like the filmmakers, this role seems to have been crafted to suit SZA’s laidback comedic style, given that it’s also her first feature film appearance.

In a relaxed manner, her unique charm shines through on camera. During her carefree days as a stoner, SZA effortlessly portrayed herself in a way that resembled an animated character. When she appeared on Lizzo’s dance competition show “Watch Out for the Big Grrrls”, her laid-back attitude was so natural it seemed plausible that she might have pulled out a slice of pizza from her pocket. Now, as Alyssa, she smoothly executes sudden changes in scenes, even ending one with the unexpected comment, “Is that a pigeon?

Palmer’s Dreux is the practical one, a slightly worn-down work robot with damaged cables. She can be endearing and clumsy at the same time. Whenever Dreux encounters her neighborhood crush, Maniac (Patrick Cage), a ruggedly handsome man with a questionable past and a weapon in his car, she malfunctions significantly. Her aspirations have a solid foundation – she aspires to one day run a Norms franchise – so it’s not surprising that a major job interview is set for the same afternoon. What’s surprising is that we find ourselves rooting for her career success, even though the storyline veers from cleverly inventive to downright bizarre.

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In some parts of the story, threads are left unraveled. At the start, the radio host Big Boy warns about today’s weather being extremely hot; however, throughout the scene, people are seen wearing jackets and the heat is never mentioned again. For those seeking a cinematic escape from real-world ash this weekend, be prepared for a sequence involving a potentially dangerous fire. The script does not provide an explanation for why Palmer spends a considerable portion of the movie enclosed in vibrant green mesh spandex resembling “a large praying mantis,” or the chain of unfortunate events that lead his friends to flee from the local gangster, King Lolo, who executes his victims by throwing them off a parking garage. The character of King Lolo is introduced with such enigmatic pomp, you might think it’s a humorous stunt involving a famous celebrity. However, it’s just an exceptional performance by Amin Joseph, playing his scenes without any hint of humor.

The soundtrack is strong, featuring Saweetie, GloRilla, and a track by Palmer during the ending credits. Unlike some modern comedies, it lacks that washed-out, economical feel. Cinematographer Ava Berkofsky occasionally adds a creative touch, such as a humorous split-screen effect or a subtle jab at online selling aesthetics. For instance, you might see a set-up of Air Jordans arranged like a Leonardo da Vinci still life.

Despite other factors, the primary draw lies with the ensemble cast. Notable names like Lil Rel Howery and Katt Williams are present, but it’s the standout performances from emerging talents such as Scott, Mejia, and Janelle James (portraying a stripper-turned-nurse) that leave audiences in awe. The director is confident in his creation, ensuring each performance harmoniously blends together like a well-tuned 12-piece band. He understands the power of subtlety, recognizing that certain jokes become even more hilarious when whispered. I must express my sentiments: it’s been a while since I’ve savored this type of enjoyable, indulgent entertainment. Server, could I please have another serving?

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2025-01-16 21:31

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