Yawn. Poorly Filmed Snooze Fest.

Excellent adaptation.

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

I was unsure how to review this movie, just as I've been unsure how to review ensemble pieces like GRAND CANYON and THE JOY LUCK CLUB. Some movies are so sprawling, so character driven, and so complex, that it's difficult for me to write a review that makes sense, but I tried anyway with IN MEMORY OF MY FATHER, a film that I've been waiting to see at least since 2003.Let me first say that without a doubt, IN MEMORY...has been worth the long wait, and that I really enjoyed every minute of it, and in doing so have gotten to know the unique storytelling style of Christopher Jaymes, director, writer and actor in this refreshing, well-edited dramedy about the death of a Hollywood movie mogul, the three sons he leaves behind, and the colorful characters who attend the wake.Chris (Jaymes), having been bribed by the father offscreen to capture his death and the subsequent family gathering on video, hires not only several professional cameramen, but expects friends like Pat (a hysterically hilariously profane Pat Healy) to help too.I deduced early on that some of the characters not only despise one another, but come across as extremely callous regarding the death of the old man. The critics who described some of these people as "narcissistic, shallow and unlikeable" may not be far off the mark. As a matter of fact, a few characters are downright hateful, in particular, Chris, who carries a very visible hostility inside him around certain members of family.But what these critics failed to comment on (or maybe even to notice) are the delicately explored family dynamics. This is dysfunction as gleefully presented as you could ever hope to see. The documentary of Dad's end of life is nothing more than an unwanted chore to Chris, and although he doesn't verbalize it outright, all you have to do is read the angry grimace on his face when he so much as thinks of his father or speaks to Dad's latest trophy girlfriend Judy, who is only 26 years old, and, as one would expect, an extravagant spender of her beloved's money.When Uncle Aled, Dad's brother (played wonderfully by the late Tom Carroll) arrives to pay his respects, he is greeted with distilled cordiality by Matt and Jeremy, and with the usual nastiness of Chris, the youngest of the brothers, the only one of the three who never forgave Aled, or Mom, for running off together and breaking up the "happy" family.Aled has a daughter, Meadow (Meadow Sisto) who is the product of his affair with the boys' mother. She is the ex-girlfriend of Pat, who naturally rattles endlessly on about how he doesn't want to see her, or her new boyfriend Eric (Eric Michael Cole), who unexpectedly spends the majority of the evening in the company of Jeremy, and they have some very entertaining discussions before deciding to do some X and change from their clothes into bathrobes.In the meantime, Chris has another friend, actually an ex, Nicholle (Nicholle Tom), to help him with the documentary by interviewing visitors at the wake. Why Chris wanted Christine (Christine Lakin) to be interviewed is anyone's guess, since she "didn't really know" Dad. Christine is a teenager who has been "hanging out" with Chris, who is in his late 20s.The entire cast shines in this film. I have not seen such a fun performance from Meadow Sisto since CROSSING FIELDS. I already mentioned how fun it was to watch Healy throw his tantrums. Jaymes is excellent as the equal parts pathetic and demonic Chris. Keeslar and Greer were great together. Even more fun were the exchanges between Cole and Sisto as Eric and Jeremy, who, influenced as much by his wife's recent behavior as the ecstasy he's taken, embarks with Eric on a very interesting little "trip".Where is all this going as Dad begins to go into rigor-mortis upstairs? Well, it's not going anywhere in particular, save the depths of these characters, all of whom I've found profoundly interesting.The film doesn't take the obvious route. The three sons appear unconcerned that Dad is dead. They're drugging, screwing and even singing irreverent songs at the piano, hurling insults at Dad's poor older friends, throwing hissy fits left and right, until at one point, Uncle Aled expresses his disgust out loud. No worries. Chris has a perfectly devilish comeback should Aled dare to open his mouth.It is here where you start to wonder, Gee, Chris really is angry. And hurt. If he didn't love his Dad, would he act like this? No, he wouldn't. That is the plot of this film. No matter what the story, and you won't have it spoonfed to you, in the end, the two older boys are doing their best to accept their Dad the way he was and move on in their own troubled lives, while Chris still struggles with unresolved anger and hatred.The comedy, beautifully timed and perfectly, wonderfully, gleefully delivered, had me in stitches. The drama is less obvious, hidden skillfully underneath the raucous laughter. And a film this irreverent would seem as cold as ice at first glance. But there is warmth, in surprising places. For instance, who knew that big-spending Judy would be so sad over Dad's death that she would lock herself in the room with him and put lip balm over his chapped mouth while talking to him about her day as though he was as alive as ever? This film made me dig deep, and made me think very hard, which is why I love it.

Filmmaker Christopher Jaymes seeks to capture how narcissism behaves. The result is an honest depiction of struggling with the inability to see outside of oneself—to be so blind that one is unable to recognize the life occurring around them. In Memory of My Father follows a son trying to grant his father's dying wish. The father is a Hollywood filmmaker who is no different than the rest of the characters in the film—bloated with his own ego. His belief that his death would shake the film community generates his final cinematic idea. He bribes his youngest son, Chris (played by Christopher Jaymes) to document the journey of his fading life. Whether the documentary ever is completed is up for the audience to decide but the father's death becomes secondary as we become further involved in the worries of the numerous characters' neurosis, careers, and relationships. The family consists of the three sons, Christopher, Jeremy (Jeremy Sisto), and Matt (Matt Keeslar). Each is dysfunctional in their own unique way. Their family unit is not a Norman Rockwell painting but isn't devoid of love and compassion either. The binds of blood tend to prevail as each of them attempt to find their way through the wreckage and into unknown possibilities by the end of the film. The large Hollywood home becomes filled to the brim with "mourners" who feel more alive from someone else's death. The various situations demand the audience's attention due to each character's commitment to the severity of their individual circumstances. In the span of the film, Jaymes deals with nearly every personal struggle of man: the search to expose and accept individual flaws; falling in and out of love at the press of a button; unapologetically begging for the attention; or realizing you are not who you thought you were and to not know who you are going to become. The film vibrates with life. So much occurs throughout the film that to say it is about the bonds of family, life, death, love, and fear would be an injustice. Questions were asked and human nature was philosophized with one brilliant conclusion. As Christopher is crumbled to the floor and held together by Nicholle's arms she states, "I don't know anyone who is meant to be in a relationship." Her statement bears the weight of yet another question to ponder. Are we even meant to have a relationship with ourselves? Maybe yes or maybe no. But we can all draw from personal experience that relationships with ourselves can be just as dysfunctional as the bond with other human beings.

I was going to this movie thinking that I was about to see a head-on point of view on sons dealing with the death of their father. But this is a much more subtle film. The death of the father gives the film a mournful background on which great comedy and drama will take place.I laughed out loud at several places and it is indeed a very funny movie but it also contain some profound thoughts and lessons of life. I love the way the sons can't deal with the death of their father and instead are concentrating on other problems in their lives making the absurd wake even more twisted. The music is great and I love this movie to bits. It is a movie which is truly complex, funny and beautiful and I really can't wait to see it again.

This film captured the essence of what it is to be human. All of the characters were 'flawed' in some obviously fundamental way, but they were extremely lovable and easy to relate to. It would have been really easy to fall into the trap of taking a slightly flattened caricature type and using their particular dysfunction as a laugh gimmick, but each of the characters were totally unique and round and real. At some point in the film each of them does something that could seem totally deplorable but we've been watching and not only do we understand why it happens, it seems like a logical step and we've probably been there at some point ourselves. It lends itself to be used as a tool in cutting yourself some slack. This is one of the only films I've seen recently that allows for dysfunction to be completely endearing. It's also rare to genuinely like all of the characters, and I do. In a cinematic world filled with perfect protagonists and 'bad guy' villains with obvious motives, this film is refreshingly true to life. Watching it was a pleasure and I left liking myself more than when I went in.Also, what a soundtrack!The screenwriter also wrote and performed most of the songs in the film.