Metroscape Entertainment
NEW YORK -- This independent feature, which proudly declares itself to be the first 35mm feature film to be shot on New York's picturesque Fire Island, is a would-be magical romantic comedy whose execution doesn't live up to the cleverness of its central conceit.
Depicting the efforts of a heartbroken widower attempting to bring together two young people he considers to be reincarnations of his younger self and his deceased wife, "Returning Mickey Stern" is a clumsily written and shot effort that all too vividly reveals the inexperience of its young writer-director. While the presence of such familiar performers as Joseph Bologna, Tom Bosley, Renee Taylor and Connie Stevens will guarantee future television exposure, the film's theatrical life will be quickly terminated.
Bologna, playing someone who is supposed to be depressed but instead mainly comes across as cranky and constipated, is the title character, who first fell in love 50 years ago with the beautiful Leah. The Korean War derails both the couple's relationship and Mickey's burgeoning pro baseball career, and they lose track of each other. They manage to reunite late in life and get married, but their happiness is cut short when Leah dies a year later.
Now, the 67-year-old Mickey returns to Fire Island, accompanied by his best friend, Harry (Bosley). There, he is astonished to run into 17-year-old Michael Joshua Fishbein), a dead ringer for his younger self, and Ilana (Kylie Delre), an exact replica of the younger Leah. Discovering these and other coincidences, including the fact that Ilana's middle name is Leah, Mickey becomes determined to bring these two together, in an effort to correct history. But his machinations don't go exactly as planned.
It's an intriguing concept but one that is undone by laborious dialogue, thinly conceived characterizations and overly broad attempts at humor -- the latter particularly exemplified by the subplot involving Harry's fearful courtship of a sexually rapacious floozy (Taylor). Director-screenwriter Michael Prywes is clearly eager to showcase the many physical charms of Fire Island, utilizing as many outdoor locations as possible. But the scenic environs aren't enough to carry the film.
NEW YORK -- This independent feature, which proudly declares itself to be the first 35mm feature film to be shot on New York's picturesque Fire Island, is a would-be magical romantic comedy whose execution doesn't live up to the cleverness of its central conceit.
Depicting the efforts of a heartbroken widower attempting to bring together two young people he considers to be reincarnations of his younger self and his deceased wife, "Returning Mickey Stern" is a clumsily written and shot effort that all too vividly reveals the inexperience of its young writer-director. While the presence of such familiar performers as Joseph Bologna, Tom Bosley, Renee Taylor and Connie Stevens will guarantee future television exposure, the film's theatrical life will be quickly terminated.
Bologna, playing someone who is supposed to be depressed but instead mainly comes across as cranky and constipated, is the title character, who first fell in love 50 years ago with the beautiful Leah. The Korean War derails both the couple's relationship and Mickey's burgeoning pro baseball career, and they lose track of each other. They manage to reunite late in life and get married, but their happiness is cut short when Leah dies a year later.
Now, the 67-year-old Mickey returns to Fire Island, accompanied by his best friend, Harry (Bosley). There, he is astonished to run into 17-year-old Michael Joshua Fishbein), a dead ringer for his younger self, and Ilana (Kylie Delre), an exact replica of the younger Leah. Discovering these and other coincidences, including the fact that Ilana's middle name is Leah, Mickey becomes determined to bring these two together, in an effort to correct history. But his machinations don't go exactly as planned.
It's an intriguing concept but one that is undone by laborious dialogue, thinly conceived characterizations and overly broad attempts at humor -- the latter particularly exemplified by the subplot involving Harry's fearful courtship of a sexually rapacious floozy (Taylor). Director-screenwriter Michael Prywes is clearly eager to showcase the many physical charms of Fire Island, utilizing as many outdoor locations as possible. But the scenic environs aren't enough to carry the film.
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