Everything is not as it seems in Holt Boggs’ dark comedy Crazy. The film opens with two hitmen, Stanley (Boggs) and Monty (Brian Villalobos), sitting in a local diner discussing a mission that involves Conan O’Brien, a Nigerian American from Paris, and St. Patrick’s day. Their exchange is tense and frankly makes no sense, but who are we to question what goes on in the mob world. It’s difficult to focus on anything other than their dialogue that emits confidence yet unease. While the audience tries desperately to piece together the string of words that come out of Stanley and Monty’s mouths, their conversation gradually becomes more and more off the wall. The disorienting tension continues to build until it comes to an abrupt ending that is far from what anyone’s predictions could have been.
Outside of the dialogue and acting, Crazy is, in the technical sense, a very simple film. With a rather generic set design and editing that cuts between the same couple of shot setups, the film lets the script and performances take the spotlight. The chemistry between Boggs and Villalobos is undeniable. Their blunt performances and rigid dynamic steal the show. With actors like them, production could have been done in an empty room and the film still would have been captivating. They could be reading a car manual (which isn’t far off from the nonsense they were spewing), and the audience would be at the edge of their seats.
Crazy gets to the heart of what makes a small indie film a success. No matter how out of budget locations, props, or equipment can be, a good script and a gripping performance is always in reach, and sometimes that’s all a film needs.
