But if you make that kind of mistake, it sets you up for a question that no one wants clients, coworkers, or employers to begin asking: “Are you really that smart?” Sure, saying the wrong word (usually) isn’t a game-changer. Although they do this in an effort to sound intelligent and sophisticated, it backfires badly, because even one small slip-up can cause an audience to focus on only that, not the speaker’s ideas. Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.Many times, especially in business settings, people use words that they think they know - but don’t. Kline has made a film that feels akin to the indie coming-of-age stories from the 2000s, like The Squid and the Whale, in which Kline also co-starred. Kline films his world like his lens is covered in gunk, yet it’s an effective approach for the tone he’s attempting to reach. Especially when Kline brings these worlds of comfort and discomfort together, Maher is like a bomb, ready to decimate what comfort there is left in Robert’s life, and it’s a fascinating explosion to watch go off.įunny Pages is one of the most distinct and often disturbing directorial debuts of the year, as Kline shows a very set style that will be exciting to watch grow in future projects. But of the supporting cast, Maher is the true gem, who is presented as both an opportunity for Robert, as well as a potential burden. Even quick cameos from people like Andy Milonakis and Ron Rifkin build this world, helping showcase the dichotomy of comfort and discomfort that Funny Pages is playing with. Similarly, this entire cast is fantastic, from Guirgis’ short scene at the beginning that permeates the rest of this story, to Dizzia and Pais, who are attempting to give their son space, yet are consistently shocked by his poor life decisions. Kline’s direction and the absurd set design make it so the audience can almost feel the heat and stench that must be emanating from that vile living arrangement.

When Robert movies out, he finds himself living in the dingiest basement apartment possible, with two other men who keep the heat at boiling temperatures for no discernible reason, other than to show how sweaty and gross this new situation is for Robert. Funny Pages is as if Terry Zwigoff tried to bring a John Waters nightmare to life. While Kline’s screenplay often feels like a collection of odd scenarios for Robert, Funny Pages fully commits to its disgusting aesthetic that makes the viewer feel like they are under a thick layer of grime. Almost immediately, Robert drops out of high school, tells his parents ( Maria Dizzia and Josh Pais) that he’s moving out and finding his own place in Trenton, and decides to forego college altogether in order to become a cartoonist on his own terms. Soon after this discussion, Katano is killed in a car crash right in front of Robert, and this accident solidifies this advice in Robert’s head.

See you in the funny pages meaning