In a world where housing prices are sky-high, Patrick must choose to buy a house or live in his van forever in Rusty Rehl’s Opportunity.
Opportunity is Rusty Rehl’s directorial debut and it’s a film that straddles the line between indie comedy and gritty social commentary, drawing us into a world of absurdity, crime, and sky-high housing prices. Set in Boise, Idaho, the film introduces us to Patrick Getty (Jon Waters), a 30-something man living in his van who dreams of owning a home but finds himself stuck between ambition and financial hardship.
The premise is good, especially as it taps into the current financial situation. Patrick, like many in today’s economy, can either scrape by, living out of his van or make a deal with his reckless best friend Donnie (Quinn Aikele), who promises him an easy way out. But the money for a new house will come from a dodgy scheme that throws Patrick into the world of crime and Mormon gangsters – a twist so odd that it somehow fits.
Rehl’s script clearly seeks to balance comedy and drama, often leaning on dark humour to illustrate the absurdity of Patrick’s situation. The film begins with a well-shot scene, showcasing clean cinematography and impressive sound design, this tells us that this is not your average low-budget indie. Jon Waters plays Patrick with an understated every-man charm, with the kind of quiet desperation that defines so many people living pay day to pay day. Quinn Aikele’s Donnie, on the other hand, is an energetic presence that often steals the show. Aikele’s performance feels loose and natural as if Donnie is a second skin for him.
The introduction of Mormon gangsters is absurd but surprisingly works in the film’s favour helping set Opportunity apart from countless other crime comedies, injecting some originality into what is a familiar movie trope; the various supporting performances also add to the film’s oddball charm
Yet, for all its inventiveness and occasional moments of brilliance, Opportunity does suffer some missteps. The film’s tone often wavers between dark comedy and suspense, and while the intention is clearly to blend the two, the balance isn’t perfect. Some of the jokes land awkwardly in moments where the stakes should be high, spoiling the tension.
Visually, Opportunity exceeds expectations. Rehl makes excellent use of Boise’s natural beauty and urban landscape, and the drone shots give the film a sense of scope and production value that elevates it beyond its low budget. The soundtrack is also carefully chosen, reinforcing the tone of survival, friendship, and the ever-elusive American dream.
In the end, Opportunity is a mixed bag, but an enjoyable one. It doesn’t always hit the mark, and it certainly stumbles with pacing and tone, but it’s a film made with passion and purpose, and that shines through in every scene. Rehl’s debut is one of those indie films that reminds you of the creativity and grit it takes to get a project like this made. While it may not be flawless, Opportunity has enough heart and originality to make it worth watching, especially for those interested in quirky, offbeat stories.
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