After Dallas (Erika Linder) breaks up with her girlfriend and gets an apartment of her own, she begins searching for the next person to spend her time with. She regulars parties and often goes out with friends in order to find her next fling. When she accidentally finds Jasmine (Natalie Krill), an engaged woman who has recently moved nearby, her outlook on life begins to shift and her emotions start to get the best of her. Below Her Mouth finds Dallas struggling to keep her emotions in check, and attempting to understand what her life is becoming and who is becoming a part of it.
The acting is remedial and the story mirrors nearly every chick-flick ever written. While this particular story is void of the usual heterosexual relationship guiding the story, audiences find that Stephanie Fabrizi’s script is all too similar to the average rom-com. The film's rising action follows the two who are seemingly meant to be together, followed by the typical climactic moment when audiences realize that more stands in their way than originally meets the eye. The same variables come into play in director April Mullen’s Below Her Mouth. Audiences are subject to an hour and a half of less than impressive writing and an all too predictable plot.
As previously mentioned, Below Her Mouth’s cast struggles to find any legitimacy in their acting. Everything appears scripted, and there are points where one could go as far as to say they were reading from a teleprompter. In general, the actors lack emotion, however, the leads, Linder and Krill appear so far removed from their characters that audiences find it incredibly difficult to relate to or even appreciate them. The only saving grace in regard to the cast is the fact that everyone looks the part. From a shallow point of view, both Krill and Linder appear to be who they are portraying, so casting director Jason Knight succeeded in that regard. Sadly, the minute either of them opens their mouth the smoke clears and their lack of talent is made clear.
The film, in general, falls short of any expectations that viewers may have going in, however, one aspect of the film provides some validity to its existence. The fact that the topic at the forefront of the film is edgy allows audiences to understand and appreciate the fact that Fabrizi and Mullen attempt to make a legitimate film.
Even with low expectations the film let me down. Below Her Mouth is slow, lacks conviction among its actors and develops a story that never seems to go anywhere. The script is terribly dull and audiences never feel a connection to the bland and unappealing characters. These actors’ performances lack any real talent and their inadequate performances dull the film even further. The film never gets off the ground and it leaves audiences uninterested and quite separated from the story, the cast and message that Mullen and Fabrizi are trying to convey. Full of negativity and completely void of excitement are a terrible formula, making Below Her Mouth a difficult and unapologetic watch.
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