Yet another catch-up, this time with an odd film that only grabbed me intermittently. Michael Cera's subtly self-lacerating corruption of type is great, but it is Gaby Hoffman's bizarro neo-hippie who steals the show, so good at pushing through her awkward insistence on good vibes to actually create some that offset Cera's spiky narcissism. She's so good that a final revelation about her character seems an especially cheap maneuver to give her character context that the actress was creating well enough on her own.
Read my full thoughts over at Spectrum Culture.