‘Under Glass’ Movie Review – Is It Worth Watching?

Under Glass is a micro-budget indie comedy-drama and feature film debut from writer-director Jay McLendon that centres on a rideshare driver embarking on an unexpected journey of self-discovery, gradually piecing together a crucial memory he has blacked out.

Pitched somewhere between Clerks and The Hangover, the influence of Kevin Smith’s black-and-white classic is felt in the film’s energy, streetwise savvy, and scrappy independent spirit. Embracing its comedic core, the premise of dealing with an eclectic array of oddball fares serves as an entertaining springboard for character vignettes, capturing the monotonous and frequently grating reality of life in the driver’s seat.

The Hangover DNA surfaces in the protagonist’s attempt to reconstruct a hazy night out with friends. At its core, however, Under Glass operates as a psychological drama. Sifting through suppressed memories with the guidance of an enigmatic passenger, the cabbie achieves greater self-awareness and begins to comprehend his predicament.

This is a clever premise for a contained, low-budget feature, leveraging green-screen interiors to simulate driving while keeping the narrative weight firmly on the characters. Mitchell Brinkley III anchors proceedings behind the wheel, channelling an Ice Cube-like stoicism as he attempts to keep his cool against an unrelenting tide of frustrating passengers. Clinging to patience by a thread, Brinkley does well to navigate his fares without fully losing his temper, even when pushed to the brink. Intrigue builds as soon as Latrice Davis enters the fray as a fare who claims to know her driver.

Director Jay McLendon shows genuine inventive flair, capturing evocative vehicle reflections and interspersing the narrative with poetic flourishes that elevate this beyond a standard dashboard comedy. Lynchian road shots and a stark black-and-white aesthetic give the film a distinctive arthouse texture, nicely counterbalancing its broader comedic influences.

Yet, while the concept is sound, the execution falters technically – most notably in the grade and sound design. The splashes of colour against the black-and-white add visual interest but it lacks consistency in terms of lighting and colour. The dialogue frequently sounds muted, almost as if recorded under glass, and the mix lacks polish. Between borderline inaudible lines, inconsistent audio levels, missing ambient sound effects and abrupt musical cut-offs, the rough audio work hampers immersion. The production would have benefited immensely from dedicating as much care to the sound mix as to the visual styling.

“Sir, mind if I crack a window?”

The editing also proves somewhat jagged. The runtime could easily have shed 15 minutes to tighten the pacing. As it stands, the story takes too long to find its gear; introducing the mysterious stranger earlier might have hooked audiences into the central mystery much faster. While the early procession of eccentric passengers offers novelty, the disconnected conversations and level of performance feel overextended and stall dramatic momentum.

Still, the recurring voiceover referencing a book left behind by a fare provides thoughtful texture, framing the driver’s alienation effectively. The visuals remain lively enough to avoid visual stagnation, and the naturalistic dialogue carries an easy humour and improvised charm.

Operating on a shoestring budget of just $6,000, bringing a full-length feature across the finish line remains an impressive feat. Under Glass is an ambitious, often engaging hybrid with an intriguing central hook, even if undermined by rough post-production. One hopes McLendon carries the hard-earned lessons from this promising calling card into his next outing or gets an opportunity to remake Under Glass with fewer constraints.

The bottom line: Promising

Watch ‘Under Glass’ now