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BIG GOLD BRICK: 3 STARS. “like real life but twisted by 180 degrees.”

“Big Gold Brick,” a new absurdist comedy starring Andy Garcia and Oscar Isaac, is the kind of movie you don’t see much anymore, a Midnight Madness flick.

“I don’t remember much about the night I met Floyd,” Samuel Liston (Emory Cohen) wrote about the night that changed his life. On the night in question, in a meet-not-so-cute, the broke despondent Samuel, drunkenly wanders into the path of Floyd’s car and is struck and almost killed.

As he recovers, Floyd, an eccentric father of two, waits bedside at the hospital. Samuel is in bad shape but lucid. “He will recover,” his doctor says, “but I should tell you there will be some hurdles in the near term. Mood swings. Agitation. Confusion. Truth be told, he may never be that Samuel again.”

Samuel is still bedridden when Floyd makes a request. “Would you consider writing my biography?” The young writer declines. He prefers to write short stories, poems, the occasional essay but Floyd is persuasive. I challenge you to at least try, for once, something different. When opportunity knocks on your door, you should answer. Even if she is wearing a goofy hat.”

He offers a place to stay with his family, a salary with no time limit or restrictions. “All you have to do is heal up and write, at your own pace.”

Samuel, having no other options, agrees to the deal. “I have this funny feeling,” says Floyd, “this was meant to be.”

He meets the family, troubled daughter Lily (Lucy Hale), creepy kid son Edward (Leonidas Castrounis) and Floyd’s much younger wife, Jacqueline (Megan Fox). Thus begins a long, strange journey, colored by his subject’s extravagant life and his own hallucinations. “We all live multi-colored lives,” says Floyd, “and have a range of experiences.”

“Big Gold Brick” is an off-kilter movie, like real life but twisted by 180 degrees.

“Big Gold Brick” is an odd movie, like real life but twisted by 180 degrees to form a ready-made cult style movie. Told in flashbacks from Samuel’s point of view, the story feels episodic in the retelling of the writer’s life with Floyd.

There is a lot in play, from Floyd’s implausible backstory, to a haunted house angle and even the possibility that Samuel has some sort of magical powers. The pieces aren’t a snug fit and often feel unintelligibly strange for the sake of being strange but there is something refreshing in seeing new filmmaker Brian Petsos swing for the fences, even if he falls short.

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