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The Exchange is a comedy-drama film directed by Dan Mazer and based on a script by Tim Long that will be released in 2021. Ed Oxenbould, Avan Jogia, and Justin Hartley feature in the film.
Elevation Pictures and Quiver Distribution will distribute it in the United States and Canada on July 30, 2021. “The Exchange,” a new comedy from the co-creator of “Borat” and “Bruno,” has been picked up by Quiver Distribution in the United States.
Parents should be aware that The Exchange is a comedy about a lonely youngster named Tim (Ed Oxenbould) who is positively impacted by an international exchange student named Stéphane (Avan Jogia). The usage of the term “motherf—ker,” a character’s attempted suicide by jumping from a building, the sounds of a pornographic video, and youths having simulated intercourse in the back seat of a car are all examples of mature content. There’s also a passing mention to Stéphane’s bigotry in both France and Canada as a person of color.
While the film promotes inclusiveness and cultural humility, it also depicts the all-too-familiar story of a mythical person of color who saves a quiet White town from its own ignorance, bigotry, and mediocrity. Justin Hartley also appears in the film.
- Genre: Comedy
- Original Language: English
- Director: Dan Mazer
- Producer: Dan Hine, Christina Piovesan, Noah Segal
- Writer: Tim Long
- Release Date (Streaming): Jul 30, 2021
- Network: Amazon Prime
- Runtime: 1h 33m
- Cast: Ed Oxenbould, Avan Jogia, Justin Hartley, Jennifer Irwin, Paul Braunstein
Premise: A socially uncomfortable but ambitious adolescent tries to buy an intelligent exchange student from France as a “mail order best buddy.” Instead, he brings in his personal nightmare: a cologne-soaked, chain-smoking, sex-obsessed adolescent who immediately becomes the hero of his new neighborhood.
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The Exchange Review:
Tim (Ed Oxenbould), a socially awkward adolescent who is bored with his little Canadian town, decides to host a foreign exchange student in The Exchange. When the exchange student, Stéphane (Avan Jogia), arrives from France, he is tall, dark, and attractive, unlike most of the town’s residents (including Tim). His charisma, agility, and sense of flair rapidly endear him to the community. Everyone except Tim, who was expecting for a new best buddy and fellow introvert in Stéphane. Stéphane accidentally disturbs the town’s natural order as he pushes others to enjoy their lives to the fullest.
Someone frames him for smashing the parade float, and the neighborhood swiftly turns on him. When Stéphane’s innocence is discovered, the town is forced to consider how quickly they assumed he was guilty, and whether that opinion was influenced by a prejudice against foreigners.
The Exchange is a typical narrative about a sleepy village that gets reborn thanks to a foreign guest. Stéphane is a legendary black person who uses his “flavor” to liven up a drab, icy Canadian hamlet. Even though he’s underage, he’s sexualized by both adults and teenagers. Stéphane instils in the villagers the values of inclusion, non-judgment, and cultural humility.
After that, he returns to France, having suffered their brutal treatment. His purpose and usefulness appear to be in enhancing the White characters’ lives. The Exchange’s title suggests a two-way exchange, yet it’s essentially one-sided. Nonetheless, The Exchange is a straightforward, well-crafted plot with Disney-level character acting. And it’s as cheesy and ridiculous as you’d expect from an adolescent comedy.
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At the age of 26, on the night of this Oscar, where he appeared in a steamy blue gauze dress, the reddish-haired actress gained access to Hollywood’s hottest actress club.
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We begin at the beginning: It’s a lovely, late spring day in Smalltown USA. A tall, lanky man — let’s call him Lee Abbott — gets out of his truck and ducks into a small general store on Main Street. He walks through the aisles, past a shelf full of toy space shuttles, and grabs some bottles of water and snacks. The owner argues with a customer as Lee nods and whizzes out the door. In the background, news reports mention unusual phenomena happening in various cities.
At a Little League game already in full swing (sorry), Lee’s school-age son Marcus is warming up in the dugout. The rest of the Abbotts, including Lee’s wife Evelyn, his hearing-impaired daughter Regan and the youngest, Beau, are enjoying the game. Lee trades a few words with the man sitting behind him, the kind of guy who rolls his sleeves up past his biceps sans irony. His son is playing as well. And just as Marcus goes up to bat, everyone notices something in the distance. Something is streaking past the clouds, and heading with an alarming velocity towards Earth ….
You should soak in the prologue that kicks off Fast and Furious 9: F9, John Krasinski’s follow-up to his out-of-nowhere 2018 hit — it’s a brilliant watch-the-skies movie in miniature, filled with lack-of-sound and fury, and it distills everything that made the original so unique and exhilarating into a single set piece. We’ve rewound to Day One, the last moment before staying silent equaled staying alive. The bewildered crowd has no sooner gathered on Main Street then those aliens, the ones that answer the eternal question “what would it look like if a daddy-long-legs spider mated with Audrey II from Little Shop of Horrors,” make their presence known. Havoc ensues.
Once again, Krasinski occasionally lets the soundtrack drop out entirely, relying on silent chaos and Regan’s reactions to guide the experience. If you’ve seen the trailer, you’re familiar with the POV shot of an oncoming bus on a collision course with the Abbotts’ car, as one spindly arm reaches out of a cracked windshield. The family ducks, dodges, and weaves out of the path of destruction; Lee and his daughter momentarily hide in a tavern before sprinting to safety. Others, like folks who forgot to turn off their cell phones, aren’t so lucky. Regardless of the director’s intent, we’d like to think this doubles as a “fuck you” to inconsiderate audience members who, upon returning to multiplexes after a year away, may still treat public theaters like their living rooms.
Speaking of which: It’s this early, standalone mash-up of Norman Rockwell’s Americana and straight-outta-Heinlein cosmic carnage that reminds you why we’ve been so anxious to return to those shared spaces in the dark. Like a countless other films big and small, Fast and Furious 9: F9 was set to be released last year before a real-life nightmare overtook the fictional ones we consider escapism. An opening salvo of everyday life interrupted by an out-of-nowhere threat, which then escalates quickly into emergency measures and confusion, plays slightly differently near the midpoint of 2021. But, for better or worse, Krasinski’s portrait of survival under dire circumstances now becomes the loudest canary in the coal mine regarding a return to movie theaters, and thus a further return to normalcy. Part II‘s kickoff gives you thrills-spills-chills mayhem that would play well in any space. See it in a room with dozens of people shrieking, and the sequence is a concentrated dose of joyful delirium.
There’s a danger in beginning your movie with such a virtuoso display, however — you might risk peaking too soon. (Just ask Zack Snyder.) After the rush of this The Exchange , we’re whisked back to the present, a.k.a. minutes after the first movie’s climax. Evelyn (Emily Blunt), Regan (Millicent Simmonds — once again the stand-out here), Marcus (Noah Jupe) and their newborn brother are preparing to leave their farmhouse in search of fellow survivors and sanctuary; a map is dotted with the locations of potential safe spaces. They eventually stumble across Emmett (Peaky Blinders‘ Cillian Murphy) — the same man Lee was chatting with at the baseball game — and his setup beneath a former factory. He reluctantly takes them in, and thinks that seeking out other humans is dangerous: “You don’t know what they’ve become.” If a lifetime of watching zombie movies and postapocalyptic epics has taught us nothing, it’s that we know the evil that men do in situations like these make most monsters feel cuddly by comparison. The haggard gent has a point.
Still, Regan persists. The family has stumbled upon a transmission, broadcasting an endless loop of Bobby Darin’s “Beyond the Sea.” She senses a clue in the title: Look for an island, and there’s your Eden. Evelyn wants to stay put, collect their bearings and let an injured Marcus heal. Her daughter takes off in the dead of night, against Mom’s wishes. Emmett goes after her, initially to bring her back. But there may be something to this young woman’s idea that, somewhere out there, a brighter tomorrow is but a boat ride away.
From here, Krasinski and his below-the-line dream team — shoutouts galore to composer Marco Beltrami, cinematographer Polly Morgan and (especially) editor Michael P. Shawver, as well as the CGI-creature crew — toggle between several planes of action. Regan and Emmett on the road. Evelyn on a supply run. Marcus and the baby back home, evading creepy-crawly predators. Some nail-biting business involving oxygen tanks, gasoline, a dock, a radio station and a mill’s furnace, which has been converted to temporary panic room, all come into play. Nothing tops that opening sequence, naturally, and you get the sense that Krasinski & Co. aren’t trying to. He’s gone on record as saying that horror was always a means to an end for him, though he certainly knows how to sustain tension and use the frame wisely in the name of scares. The former Office star was more interested in audiences rooting for this family. His chips are on you caring enough about the Abbotts to follow them anywhere.
And yet, after that go-for-broke preamble, it’s hard not to feel like Fast and Furious 9: F9 is all dressed up and, even with its various inter-game missions and boss-level fights, left with nowhere really to go. If the first film doubled as a parenting parable, this second one concerns the pains of letting someone leave the nest, yet even that concept feels curiously unexplored here. Ditto the idea that, when it comes to the social contract under duress, you will see the best of humanity and, most assuredly, the worst — a notion that not even Krasinski, who made Part 1 in the middle of the Trump era, could have guessed would resonate far more more loudly now. (What a difference a year, and a global pandemic followed by an political insurrection, makes.) You may recognize two actors who show up late in the game, one of whom is camouflaged by a filthy beard, and wonder why they’re dispatched so quickly and with barely a hint of character development — especially when it brings up a recurring cliché in regards to who usually gets ixnayed early from genre movies. Unless, of course, it’s a feint and they’re merely waiting in the wings, ready for more once the next chapter drops. Which brings us to the movie’s biggest crime.
Without giving any specifics away (though if you’re sensitive to even the suggestion of spoilers, bye for now), Fast and Furious 9: F9 ends on a cliffhanger. A third film, written and directed by Midnight Special‘s Jeff Nichols, is in the works. And while many follow-ups to blockbusters serve as bridges between a beginning and an ending — some of which end up being superior to everything before/after it — there’s something particularly galling about the way this simply, abruptly stops dead in its tracks. No amount of clever formalism or sheer glee at being back in a movie theater can enliven a narrative stalled in second gear, and no amount of investment in these family members can keep you from feeling like you’ve just sat through a placeholder, a time-killer.
A Quiet Place was a riff on alien invasion movies with chops and a heart, a lovely self-contained genre piece that struck a chord. Part II feels like just another case of sequel-itis, something designed to metastasize into just another franchise among many. Just get through this, it says, and then tune in next year, next summer, next financial quarter statement or board-meeting announcement, for the real story. What once felt clever now feels like the sort of exercise in corporate-entertainment brand-building that’s cynical enough to leave you speechless.
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