At the start of the movie, gunshots are being heard from an independent Café shop, and then the real story switches back starting one week earlier, starting from a Sunday. It revolves around a café joint and the people that go to it. It consists a bunch of nobody's because much of the characters doesn't seem to have anything to do with the gunshots that occurred at the beginning. Some of the characters include a person writing a book, two people meeting from a theatre, except the man already has a ring on his finger, a drug addict as well as the drug seller(Jamie Kennedy). And the most bizarre one of all, something that was already been done already called "The Matrix", in which a young 10 or 12 year old girl is seen talking like an adult, telling an overweight man on a lap top that he's a made up person called an 'Avatar'. She tries to instruct him to do something, and he doesn't listen. Both Claire (Jennifer Love Hewitt) and Todd (Daniel Eric Gold) are the only people who work at the Café shop, with the peculiar thing that they don't know what their boss look like. I mean, it's like how do they even get paid if they don't know what their boss even look like. Anyways, the film was written and directed by Marc Erlbaum, who may have came up the idea by watching "The Matrix" from his laptop, while drinking coffee at Starbucks.
1 star out of 4
It stars Jennifer Love Hewitt, so I should have known better, but I was sucked by the opening shot--a panorama of the Victorian building dwelling in West Philadelphia--the film's only quality shot.
Set in a cafe and only in the Cafe, the main gist is that the world is a computer program, a Sims of shorts, run by a 10-year old girl. She decides to reveal herself to a stereotypical fat, cafe patron. After the obligatory denial-and-proof section that all movies asserting such fantasy in a realistic setting must have, she compels the fat-dude to tell Hewitt's character, a barista, that they are in fact not real. If you suspect that this is the main thrust of the plot you would be sadly mistaken. All that comes from this moment, a moment built-up by angst, doubt, and soul-searching by the fat guy, is nothing but a conversation on juvenile metaphysics. Nothing changes because of it; nothing is advanced; it has no effect on the events that come after it. Why did the little girl-god have the fat guy do it? No reason, apparently.
Most of the film deals will the b-stories of the patrons. They tell you it. Meaning, they sit at the cafe and tell you their stories, because that's much better than actually seeing it played out on film. Have you ever sat at a coffeehouse and have a blabbermouth sit down beside you and yammer on about themselves? Were they annoying and did you not care about their life? Same thing!
Even more annoying, the movie stars a co-worker secretly in-love with Mrs. Hewitt, and yes, he want's to revel his crush. Ugg. I am so sick of this story-line. To say that I don't care anymore if a character ever gets his limerence object would be an understatement--I am several years passed that--now I actively root against the Pepe La Pew character; that's how sick I am of the trope. There is even the predictable who-do-you-like conversation where Hewitt speculates that it is a well endowed redhead who has the hots for him, and I think â??yes! Go for the big breasted redhead!!!â?? But like a tool, he doesn't.
The plot does advance to an interesting twist at the end. I won't give it up in case you, for unimaginable reasons, want to watch the movie. It is dark though. But when you have a girl-god with access to the alt-ctl-delete buttons, you need not worry the film ending with any emotional depth.
The avatar theme is interesting, if not executed competently; I give one star for that. I give another star for the twist at the end, but deduct one-half for the deus ex machina. 1.5 stars.