Some movies are good. Some movies are bad. Some strive for greatness, while others merely pass muster. But now and then, you come across films like Disconnect: The Wedding Planner that makes you question your existence. Why did I waste my 1 hour and 47 minutes on it? My life would have been a bit better if I would not have been aware of this film's existence. And I am absolutely sure that even Netflix's algorithm would have hidden this title from my feed. Five minutes into the film and I wanted to close my laptop. I didn't, however. As soon as I finished watching the movie, I wanted someone to erase my memories. But I have to talk about it for a while. Like one of the characters in the film, I won't beat around the bush and come directly to the point. Disconnect is horrible. Frankly, you don't need to know anything more.
Disconnect is about things like sex, marriage, infidelity, and romance. It says that not all relationships are perfect, and your lover will likely cheat on you with someone else. Men, especially, are filled with lust. They can be single or married, young or old, but they won't stop objectifying women. Otis (Pascal Tokodi) is one such philanderer. In the opening scene, he breaks up with a woman by explaining that he cannot get into a committed relationship when there are so many beautiful ladies around. Meanwhile, the characters who are in a relationship suffer from betrayal and boredom. One couple goes to therapy, and a woman discovers her lover's infidelity.
If the movies like Disconnect have taught us something, it's that therapies never work. The therapist simply listens to the couple and looks forward to his/her payment. In a rom-com, the shrink comes in a quirky form. Hence, the one in Disconnect is not good with names and has a frog croaking sound as her ringtone. All this only means that the movie is nothing but one gigantic cliché. But that's not the real problem. The real problem is that Disconnect reuses the clichés without vigor. It's shapeless and drags itself to a predictable conclusion. I have seen zombies exuding more passion and stamina.
If Otis constantly moves from one bosom to another, then Disconnect continuously shifts from one mood to another. The movie is undoubtedly suffering from mood swings. Consider this scene, for example. A character congratulates someone in her bathroom for her promotion. The two of them come out and notice one of their friends has passed out. Then the women who are awake drink alcohol and talk about men. Finally, the unconscious friend becomes conscious and starts crying because of an unfaithful lover. Throughout this scene, the tone changes so quickly that you feel disoriented.
Disconnect clearly has no sense of direction. It aimlessly moves from one event to another. This is the kind of film where characters cry over wedding decorations at one moment, and immediately in the next scene, a character is seen flirting with a woman. A man, in one scene, makes out with a woman, and in the following scene, he is shown being annoyed with someone. And what do you know, that someone happens to be standing behind the man while he expresses his opinion (it's all played for laughs). The way the movie moves from the "make out" scene to the "comedy" scene is awkward. Actually, that holds true for all the scenes in Disconnect. It unfolds mechanically. You wonder why Otis invited those four women to a birthday party and why the chef stops being strict after his introduction scene. It's futile to ask these questions because the answer is, "Well, it was written in the script." The characters don't have a mind of their own and simply work like puppets. This rhythmless film is devoid of entertainment and romance.
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