Originality isn't completely gone in filmmaking.  In a world where sequels, retreads, and even adaptations dominate, it's important to recognize the few efforts that remain steeped in originality.  ...Around, despite moments of flirtation with what the film's protagonist, Doyle, would aptly (and incorrectly) label "cliche," the film clings desperately to what makes it stand apart from the blase, and most importantly, stand out.

Doyle Simms (Rob Evans), a "Jersey Boy" from across the Hudson, decides to leave behind his lukewarm life and suffocating mother (Berenice Mosca) to venture inside New York City to attend film school.  The first year passes by rather uneventfully, forcing Doyle to question his decision to leave.  When goaded to return by his lifelong friend, Logic (Marcel Torres), Doyle takes the advice, only to find encounter serious financial setbacks and no housing.  The proud, resilient Doyle deals with it best he can - by living in various public places around the city.  Partly to pursue the Allyson, gorgeous girl he keeps running into (Molly Ryman) and partly to show he won't submit to his mother, Doyle toughs it out inside Penn Station instead of tucking his tail between his legs and returning home.  He claims to his Milton-quoting "roommate," Saul, it's just a temporary fix, but the pressure to live out both lives quickly wears him thin.

I have to applaud any film with the charisma of ...Around.  The brainchild of David Spaltro, who wrote, directed, edited, and produced the film, ...Around works twofold.  On one hand, it presents its audience with an inventive story about the struggles of Doyle and how he deals with them, and on the other hand, it suggests its audience reexamine their own lives and whether they turned into the people they set out to be.  ...Around isn't a flawless film, but its ability to mirror it's own ambitions, as well as those of its audience, is a rather unique supplement to the refreshing story.

The film, for its miniscule budget compared to the average production today, is a testament to itself in more ways than one.  Spaltro ignores the taboo placed on creating a film about filmmaking, but ...Around pulls off the feat well.  In film school, Doyle's story provides the audience with the majority of the film's funniest scenes.  The narration, though never actually pinpointed since it's stretched over three (or more) mediums, plays with conventions by throwing them into the forefront while they're taking place.  It was a gamble, since the obviousness of it all could've easily been smug, but Spaltro pulls it off.

For such a small film, ...Around is gorgeously shot and layered by superb acting.  Rob Evans and Molly Ryman are solid in the lead roles, but the best performances come from the characters that float around Doyle like wistful muses.  Ron Brice and Veronica Heffron, playing Saul and Mona, along with Berenice Mosca as Doyle's miserable mother all deliver astounding performances.  Their efforts somewhat balance the erratic plot, that jumps around a bit too much at times. 

...Around is great for its ability to take Doyle to a plethora of places for a character to go, but doesn't always arrive there smoothly.  For a film so invested in the direction of its protagonist, ...Around falters a bit in providing the audience with ample contrasts or believable circumstances that aren't contrived from conveniences.  The overall journey by far outweighs the flaws within scene-to-scene, but some transitions will leave you scratching your head for the wrong reasons.

Regardless ...Around has a solid handle on it's tone.  The film is rife with memorable dialogue and scenes (with a few misses sprinkled in as well).  The more the audience allows themselves to become invested in Doyle's life, issues or not, the more rewarding the experience becomes since ...Around does the emotional legwork.  There's just too much charm in the film, and the ending makes too much sense.  Considering what it took to create ...Around, the film is a credible first effort for David Spaltro, the mind behind it.