Everything's Gone Green

Ryan is having the kind of bad day that can only happen in the movies. He gets dumped, fired, and almost wins the lottery—almost.

Despite its rather clichéd opening, “Everything’s Gone Green” is a strong first showing by novice screenwriter Douglas Coupland, who has a long history as a novelist, and who popularized the term ‘Generation X.’

The film, like many before it, follows a modern young loner as he struggles to find meaning and direction in life as everything around him swirls dangerously out of control.

Director Paul Fox strikes an unexpected level of originality by taking advantage of his talented cast and presenting a consistently comfortable atmosphere throughout the film.

Coupland’s script layers clever dialogue and amusing plot details on top of the tired premise of a premature mid-life crisis. Ryan’s specific circumstances are odd enough to catch attention, but not so outlandish as to obscure the message behind his quest for satisfaction from personal and professional pursuits. The style of the script conforms to the accepted indie formula of anti-establishment themes that focus on the vices of materialism and the corporate ethos—couching criticism in a green mindset.

Fox’s direction strengthens the connection created between the actors and the viewers. The film does not feel overly shaped or artificial, which is important as the film strives to foster empathy for Ryan. The scenes are crisp and move quickly so as to reinforce the humorous nature of the script.

Transitions between scenes take the form of artful photo essays and clever images that augment the comedic nature of the story. Such small touches make the film engaging, and more importantly, distinguish it from other soul-searching films in the genre.

Rivaling Fox’s direction for praise is the acting by Paulo Costanzo and Steph Song. Playing main character Ryan and his love interest Ming, these two young actors establish themselves with believable and entertaining performances. Their talent and natural attitudes further set the film apart from the many others that share similar plots.

Costanzo effectively conveys the angst that Ryan feels without taking his character too seriously. He captures Ryan’s aloof nature in a manner that fits so well with Fox’s direction style and the relaxed tone of the script.

You can’t help but become invested in the success of Ryan and Ming’s courtship, rooting for them even when Coupland’s script fights their progress. Song is refreshing as the no-nonsense Ming, but she struggles in some scenes to overcome the conflicted path set out for her slightly stereotypical character.

The music and cinematography are excellent, and their subtle contributions bestow an overtly professional and polished quality to the film. Cinematographer David Frazee guides the camera expertly to capture the natural beauty of Vancouver and the isolating qualities of urban life. The soundtrack is up to date and appropriately paced, accentuating the funky demeanor of the plot while moving the film between scenes.

“Everything’s Gone Green” combines typical independent film components into a unique and pleasing package that entertains and pushes the correct intellectual buttons. The ensemble effort successfully meshes thoughtful artistic film elements with honestly funny dialogue and captivating plot twists. Ryan’s bad day is certainly the start of a charming few hours.