Most of us limit our daily interaction involuntarily with the ongoing problems in the world, only to maintain our primary mind. But Adam (Patrick Hippie) is not immediately loved lead because émond (sometimes, full) of the tragic cakes “Peak everything”. It is not that Adam is stuck in a prejudice of a defect of opening his soul to every single global catastrophe. On the roof, he has together: living in a small town of Montreal, while keeping a modest but organized house, running a local house filled with sweet dogs, etc. However, something feels in his soul, which is something that does not seem to be fit.
In the strange story of émond that flirts with surrealism, you can only feel it for Adam very sensitive. He is one of these gentle players who you want to protect him immediately, with a pair of gentle -bearing eyes that surpass the urgent concerns in which the deep HIVON HIVON performance transfers. Looking at the extent of Adam’s consumption day after day with the expiration date of the planet Earth and his fellow humanity is indifferent to urgent environmental reasons, anyone who guesses how his head keeps over the water. But he runs the same, despite his fixed father Eugene (Jill Renault), who does not participate in his concerns, and an assistant in the dog’s house called Rumi (Illizapith Magreen, benefits from its maximum unveiled), who manipulates the freedom of Adam as she wishes.
There is no doubt that his dogs help Adam in the midst of the existential crisis, as does the best man’s friends. However, it orders a treatment lamp for additional support when the dog and therapist company proves insufficient. Perhaps in the best scene and funny “Peak everything”-a film that can use the most obvious humor-meets Chipper Tina (PIPER PEABO) on the phone when the lamp support line is required, believing that it supports him emotional upon request that the manufacturer also provides on the side. But it turns out that Tina is just an ordinary technical support, and it may be exaggerated in communicating with Adam’s problems.
The generous spirits are connected to the coincidence, and the two struck them immediately despite the initial misunderstanding, as Emid and for a period of time, Tina made real, or if we were in a neighborhood “she”. Émond raises this suggestion in general through its choices of its sound design – there are nearly mechanical sweetness and clarity of ears that worry about the sound of Tina – as well as the audio performance in the other Parabo until we see it.
“Peak everything” becomes less interesting and reaches its peak early when it turns out that we are supposed to take most of the things in the film at the nominal value. (For anyone, Tina is very real). However, émond maintains some conspiracies when Adam hears a thunderstorm shattered the Earth on the phone while she was talking to Tina, and roaming her neck from the forest in Ontario when the earthquake threatens her safety. It is recognized that the conspiracy is shaken from here on the right, especially when Adam and Tina becomes part of an unsuccessful drug statue that detracts from the story. Once we meet the Tina family – married and have children – the scenario that he takes through these new characters is randomly and dangerous. There is a simple suggestion that the marital bliss of Tina may not be all, and she needed to contact the opportunity as much as Adam did. But for the largest part, Tina remains a frustrating question mark.
Émond is more successful elsewhere, as it is hidden from the sadness that remains below the bright glossy film. The design of integrated production in the era (without technology and smart devices in the film, you will not be able to know what the contract in it) complements the feeling of the ethereal story, while the sites roam in quiet areas and calmness against industrial plants and smoking chimney, referring to the divided Adam march. Meanwhile, his dream -like trips often affect the snowy and contemplative landscape of the story in a quieter environment, even when émond overcame its story system through various side characters that can be forgotten and circumstantial comedy.
You wonder whether the feeling crowded with “the height of everything” mimics the phenomenon to which the title-a crisis in the twenty-first century when humanity and our planet reach everything through excessive consumption. The characters often feel that they have hit a narrative end point, but they are still continuing to welcome them – sometimes they betray the systems of their own beliefs in this process. (The scene that cannot be explained in the end is a natural catastrophe and the beloved Adam dogs is an ideal example of this.) If the film only has discipline to contact some of its objective ambitions about romance, movement, comedy and existentialism, and he knew how to resign.