James (Jason Torres) is starting a new job–he’s the doorman on the overnight shift at a New York City apartment. He believes that his job will be easy–greet the residents, open the front door for women, and assist those who need it, but he’s in for a wild ride. Con-men, drunks, priests, and other unique characters make their way into the apartment building, and James will soon realize that this Night Job may not be all that it’s cracked up to be. This is his story, and it’s a crazy one.
Night Job begins with slow, calming jazz music–but something somber and uneasy transcends the film’s opening number. In the early stages of the film that unease seems to represent the feeling of starting a new position and being unsure of what to expect or even what to do, but that sense of unrest bleeds into something far different as Night Job moves forward. Anxiety begins to rise and consume viewers, and there appears to be no way in which those viewers can escape the antagonistic nature of the film. The film moves along (rather quickly) and new, strange events occur at a very fast pace. As a result, viewers never have a chance to settle in, and the meaning of the music as Night Job opens makes more and more sense as the film continues.
It seems apparent that continuously adding more and more characters to the story is used to introduce comedy to Night Job, but things begin to feel overcrowded at an early juncture as a result of the large cast. Never getting settled as a result of the ominous music is one thing, but struggling to settle in as a result of too much going on is something entirely different. It makes sense that writer-director J. Antonio wants to poke and prod his viewers in order to keep them on edge, but the constant reveal of someone new is too much. I felt anxious as I watched, and while that can add to the suspense of the film for viewers, it becomes overwhelming. My head was spinning as I watched James attempt to deal with the seemingly endless issues that would arise throughout the course of the night, and I felt dizzied as a result. Night Job reaches a bit too far in multiple aspects of the narrative, but with literally dozens of important characters, this may be the film's biggest stretch.
Speaking of stretching, Antonio appears to seriously be reaching for content–and I’m torn between whether or not that helps or hurts Night Job. On one hand, viewers look at the absurd scenarios and question the validity of what James is experiencing, but on the other, the ridiculousness that ensues throughout the entirety of Night Job is laughable (in a good way). These scenarios antagonize viewers just the right amount, forcing them to question why things are happening the way they are, but as I watched the almost cringeworthy situations play out I couldn’t help but laugh. I enjoyed the wildness of James’ shift, and I appreciate how far-fetched the film sometimes becomes. Not only are the scenarios uniquely and ironically fun, they allow me to appreciate some of the issues I deal with on a regular basis while I’m at work.
Night Job is choppy, and I’m afraid that the cinematography, like the revolving door of characters, causes the film to feel a bit messy. Quick cuts from interior to exterior, or a sudden (and seemingly unnecessary) transition between camera angles are likely to dizzy and confuse viewers. There are moments, however, like the beautiful shots of characters in the mirror that express Valentin Farkasch’s cinematic abilities and Antonio’s understanding of cinematography. This both enriches the narrative and frustrates viewers–because now we know that they know how to avoid those less-than-adequate shots.
Night Job is a frumpy journey. It introduces the world to a number of young, talented individuals–but it also antagonizes viewers to the point of no return. There are ups and downs throughout the course of Night Job. Some things are detrimental to the film (the incredibly large cast), and others propel it forward (the well-hidden message). It’s a strange balance of good and bad that exists within the film, and it took some time to come to terms with my overall feelings toward Antonio’s Night Job. I’ve found myself somewhere in the middle of the road in terms of rating. Do I recommend this film to others? This was the question I pondered more than any other when trying to determine my feelings–and Night Job ultimately lands right on that line of recommendation. This film warrants a viewing, because, if nothing else, there is something uniquely fun about what Antonio and his team does here–and I commend them for that.
Written & Directed by J. Antonio.
Starring Larese King, Jason Torres, Michael Silbert, Marlene, Oxana Fimsova, Uliana Klepinina, Bonnie Garroway Lowen, Carmen Borla, Larissa Santiago, Arlene Castillo, Kutcha, Lori Hamilton, Tim Farrell, Samantha Connolly, Lester Greene, Robert Youngren, Greg Kritikos, J. Antonio, Brandon J. Shaw, John Cencio Burgos, Timothy J. Cox, Ismaël Sy Savané, Charles Smith Jr., Steven L. Coard, Henry Calle, Mario Londono, Sabrina Dandridge, Hardy Calderon, Jose Espinal, Shanae Christine Harris, Aleka Hart, Anna Bakunova, Morgan Page, Joshua Williams, Bettina Skye, Monikha Reyes, Laeticia De Valer, Chris Tangredi, Una Petrovic, Danyelle Demchock, Jorge Luis Figueroa, Adam P. Murphy, Sofiane Madi, Stacey Weckstein, Brignel Camilien, Vincent Ford, John Torres, etc.
⭐⭐⭐⭐⭐⭐/10
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