We open in mid-misfortune: Chris (Nicholas Hamilton) is in the passenger seat, three beers to the wind, his designated driver girlfriend Riley (Alexandra Shipp) texting behind the wheel, and two oncoming cars screeching along on their way to put an end to love. At least in this world. Survivor’s guilt overwhelms Riley, while Chris, unable to cross over, forges on in oblivion. (As strong a presence as Shipp brings to the role, that’s exactly how drippy Hamilton’s ghostly brooder is.) It turns out that Scott Speer’s (Step Up Revolution, Midnight Sun) weigh station for ascending souls is an agreeable destination with perks galore. How old you were when you died is how old you stay. Communication amongst the limbo dead is a plus. Want to globe hop? Just think of a destination! And did I mention that one can fly anywhere they desire, no wings attached? In Chris’s case, it’s even possible to make aural and physical contact with his beloved! Presented with uncomplicated conviction by a director skilled at sleight-of-hand, even the most ludicrous plot points prove pleasurable. When not cranking out video shorts, Speer works exclusively in genre pictures, making him a rarity among today’s directors. Oddly enough, though the film is meant to jerk tears, not once did I find my hand reaching for a Puffs. (2020) — Scott Marks
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