The Paragon
Written and Directed by Michael Duignan
Starring: Benedict Wall, Florence Noble, Johnny Brugh, Michelle Ang
Unrated
Runtime 83 minutes
In theaters and digital September 6

by Kevin Murphy, Staff Writer

The Paragon is a homage to and slight sendup of the psychedelic fantasy and sci-fi movies of the VHS era, and seems like the kind of film that could stumble among an ever-widening field of nostalgia bait coming from all angles and in all genres. It’s audacious to try and elbow into this alongside powerhouse productions such as Stranger Things, the giallo-inspired Malignant, or even Panos Cosmatos’ Beyond the Black Rainbow, especially when that film’s “shoestring budget” of $1 million is significantly higher than what Michael Duignan and crew had to work with. But their $25,000 goes a long way, and its shooting schedule of under two weeks was time spent wisely.

The film tells the story of a self-absorbed all-time loser, Dutch (Benedict Wall), who has lost his job, his marriage, and his house after being severely injured in a car accident. Desperate to find the hit-and-run driver, he spots a flyer offering psychic help in locating lost things. While looking at it, the payphone by him rings, and Lyra (Florence Noble) enters the story, a teacher of psionic powers who guides Dutch through a brutal crash course in how to tap into his latent abilities. His quest is one of revenge; hers is tracking down a cosmic artifact to keep it from her evil brother, Haxan (Jonny Brugh). Both of these goals will arc towards each other before the film’s final stretch.

Comedy is subjective and so your mileage will certainly vary. Personally, I had tears in my eyes from laughing at several points. The timing is spot on–it's such a dry New Zealand style of humor and it works so well. Dutch’s wife revealing her affair with a coworker in business email-speak (“I figured this was an easier way to bring you up to speed with where things are at with us”) sent me into a laughing fit three minutes into the movie, and the writing consistently plays up the silliness of Lyra's teachings with a straight face to make it funnier. Even better, when it shifts from comedy to some real emotion it feels smoother and more organic than I had expected. Of course, nobody ends up on the course they’d planned for themselves, and witnessing their adjustments to new circumstances is where the heart of the film lies.

The Paragon also offers perhaps my favorite recent instance of the concept of "impatient idiot gets trained by a preternaturally patient teacher" as the comedian-straight man duo. Dutch is a heel for sure, self-centered and barely able to conceive of caring about others, which makes his development all the more satisfying; Lyra is a steady figure guiding him the whole way who serves as a stark contrast to his antics. Dutch frequently refuses to listen to any advice, which results in Lyra watching stoically as he suffers for it, like a cat sitting by and observing the aftermath of one’s night of excessive drinking.

Needless to say, Florence Noble quietly owns the screen when she's on it, sometimes allowing Bernard Wall to take a bit of the cosmic spotlight with his more animated performance, and the two characters play off each other wonderfully as a result. Jonny Brugh gets less screen time, but fills the role as scenery-chewing villain so well that he never wears out his welcome. Lastly, Michelle Ang brings a far more grounded performance to the fantasy in a way that keeps everything from floating too far into the absurdity it courts.

The one major issue with the film that prevents me giving a more emphatic recommendation is its flashing colors. There are moments where it happens for such a long duration and with such intensity that I expect the official release to either tone them down or add an epilepsy warning–especially as one such moment is the opening title sequence. As much as it fits the style, its use is excessive.

I really enjoy these kinds of micro-budget independent works. The Paragon, with a credited crew numbering just over a dozen, was a perfect fit for my interests, and I was not disappointed with how well it turns the passion and effort of a small team into an enjoyable ride. Its limitations are fairly well-hidden, thanks to Duignan’s history directing television shows; it does not feel as small as it is as a result, despite only taking place in a handful of locations with a tiny cast.

Even if it’s not quite grimy enough to be a "midnight movie" of the sort it aspires to be, The Paragon gleefully holds the vibe of something you'd stumble across at 2AM that wields a magnetic power and keeps one from flipping away. It might be my new cosmic favorite indie flick.