‘Lousy Carter’ Review – Ironic And Witty Comedy Tackles Life And Death

We’ve all had one teacher in school who couldn’t care less; that is the case with David Krumholtz’s Lousy Carter. He is a disinterested Professor Keating but a more sardonic Paul Hunham. A man teaching without much spark or passion soon learns he has six months to live, yet despite the clock ticking, he seems unlikely to change his ways. The film is a charming black comedy that never becomes overly sentimental. The lack of tweeness is undoubtedly the result of Krumholtz’s hilarious performance of a man-baby who seems incapable of personal growth. Aided by a sharp script, this film strikes a poetic nerve.

A character like Carter is a baby man and a cad, running low on time throughout the story. Most people in this situation would seek to amend their ways, but Carter seems to go out of his way to get on everyone’s last nerve. It is a risky move, especially for a comedy where the goal of a lighthearted character should appeal to the audience. In the wrong hands, this is a character that audiences might root against, except Krumholtz makes this lousy individual lovable.

Krumholtz last appeared in Oppenheimer as Isidor Isaac Rabi. While in a supporting role, Krumholtz demonstrated an impeccable sense of timing, and his portrayal offered moments of levity in the film. Here in Lousy Carter, he can unwind and showcase his range as an actor. He infuses a dynamic sense of fun and wit without an overreliance on gags or canned jokes. The humor arises from the situation and the character of Carter.

His character is a man undergoing a personal reckoning, hastened by the truth-bomb of his terminal illness. Carter spits in the face of those seeking to change their ways amid life-changing news. Most people look outward or try to make amends, but Carter is seemingly committed to double, if not triple, down on his quirks and flaws. Carter is the man who, in any good drama, would embark on a transformational character arc, but here, his narcissism is part of the charm.

Carter’s job as a professor has him teaching a graduate seminar course on The Great Gatsby. This is merely a cover as the once-able animator seeks to finish an abandoned personal project, hoping it to be his magnum opus. Interestingly, though, the Gatsby connection provides a fun framework for Lousy Carter. Carter has a Gatsby-esque charm that no doubt helps sell the similarity. Krumholtz plays despair and passion with a zany wit. His Carter looks at every situation to play the perpetual oddball. This man wishes to leave a mark but needs more impetus to make it happen.

Here is where the script comes in. The words are dynamite. “The bad hospitals let you die, and the good hospitals kill you.” Lines like these, delivered by Krumholtz’s droll cadence, are layered throughout the film. As Carter, he applies devil-may-care to his terminal situation or teaching his class. There is a frankness to the dialogue and irreverent irony in the narrative. There are supporting players, including Stephen Root, who plays his deadpanned therapist, but everyone is in the service of Krumholtz.

Other key supporting players include Olivia Thirlby, who, as Candela, is an ex-flame of Carter. She is equally quick-witted and offers clever insights into the checked past of Carter, who is stubbornness incarnate. Martin Starr, who plays Kaminsky, and Luxy Banner as Gail, round out this cast. Kaminsky is a fellow professor at the same college as Carter and his best friend. These two engage in verbal jousting matches, weighing philosophy and social mores. On the side, Carter is even having a secret affair with Kaminsky’s wife; scruples be damned!

The film has a rhythm that is delightfully insubordinate to other films. Lousy Carter is not heavy, even though its premise is emotionally complex. The movie laughs in the face of highbrow dramas and tackles sensitive topics with more significant insights and repertoire.

The other woman in Carter’s life is his graduate student, Gail. She is a human B.S. Detector. She calls out Carter, even when describing him “as someone between fourteen and sixteen.” Their pairing is not a retread of anything we’ve seen before; instead, it showcases a bond that comes off like two friends or even a parent-child setup, with Gail acting at times like the responsible one.

Lousy Carter is a black comedy that is never afraid to plunge into the ebony pits while eliciting outright ironic and deadpanned laughs. There is dark humor and sarcastic poetry, all with a dash of Gatsby. The film tackles despair, morality, and death through wit and, amid the lackadaisical tone, even delivers some pearls of wisdom.

Lousy Carter will be available in theaters and on Digital platforms on March 29, 2024, courtesy of Magnolia Pictures. 

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