A man watches his life unravel after he is left by his blind girlfriend.


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  • ★★★★ review by Eli Fine on Letterboxd

    The brilliance of Janicza Bravo’s Lemon is clear juxtaposed against another IFF Boston pick – the Alison Brie-Aubrey Plaza vehicle The Little Hours. Both films play in an absurdist sandbox, boosted by stacked casts in the vein of Wet Hot American Summer. Both have ties to the L.A. alternative comedy scene and both directly reflect the sensibilities of their respective stars – Brett Gelman and Plaza. These prima-facie similarities notwithstanding, The Little Hours’s derivative, juvenile attempts at absurdist comedy shone a bright light upon Bravo’s wholly unique, original, and stylish Lemon.

    Lemon is the odd Wes Anderson pastiche (reminiscent of The Royal Tenenbaums) that quickly develops its own essence, not least because it unexpectedly uses its Andersonian formalism and quirk to examine familial psychosis.

    And who better to be at the center of a film about psychosis than Bravo’s husband, the delightfully unhinged comedian, Brett Gelman. Gelman plays ‘crazy’ well, with regularity and great relish. Here, he plays Isaac, an aging acting coach and commercial actor whose wife (Judy Greer) is not-so-subtly cheating on him. He’s obsessed with one of his pupils, Alex (played by Michael Cera, in perhaps his funniest performance to date), aggressively insinuating himself into Alex’s life whenever possible.

    The film deals with the unraveling of Isaac’s life and mind as it becomes ever more obvious that his relationship is over and his acting career is kaput. Throughout, Gelman plays Isaac with a fierce, scary intensity. At a photoshoot (run by the great Megan Mullally), Isaac awkwardly asks for and (somehow receives) the telephone number of Cleo, a pretty makeup artist (Nia Long). Their relationship develops from there, and while Isaac never does anything explicitly villainous, it’s difficult not to fear for Cleo’s safety until the very end.

    What is wonderful about Lemon is that it keeps that darkness close to its chest until about the halfway mark. For the first forty-five minutes or so, it’s just an oddly strange bit of Wes Andersonian twee, full of pastel colors and long panning shots and symmetrical imagery. As the story develops, however, you begin to realize that while it’s not made explicit, Isaac is completely deranged – as are the people who surround him.

    Full review on The Young Folks: www.theyoungfolks.com/review/102922/iff-boston-review-lemon/

  • ★★★★ review by Emily on Letterboxd

    Wes Anderson meets David Lynch meets the people of LA

  • ★★★½ review by Amanda Storey on Letterboxd

    THE GREASY STRANGLER (2016) it's not, but it's still the weirdest film I saw this year on the festival circuit. It's dark. It's wickedly funny. It's disgusting. For those feeling stuck and afraid they'll stay that way forever...watch this at your own peril, or perhaps come away assured. Oh, and props to Brett Gelman and Martin Starr for coming away as The Most Convincing Movie Siblings.

  • ★★★½ review by Sean Hillary on Letterboxd

    MD Film Fest 2017

    Surreal and absurd and quite funny. Wish it would have pushed a bit further though.

  • ★★★★½ review by seanmalin on Letterboxd

    SXSW Film Review for The Austin Chronicle:


    Gelman is tremendous as always, but the genius here is in the photography, the sound editing, and the production design. And there is enough to go around between them.

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