‘The Beta Test’ review: Dir. Jim Cummings [EIFF]

Returning to the festival circuit, indie prodigy Jim Cummings takes a stab at Hollywood arrogance and clouded morals in a post-Me Too commentary on the dangers of toxic masculinity and the Internet with his third feature film The Beta Test.

This time co-writing, co-directing, and co-starring with PJ McCabe, Cummings’ latest follows Hollywood agent Jordan Hines (Cummings) a few weeks away from marrying fiancé Caroline (Virginia Newcomb). He throws himself into his work, a shark that capitalises on insecurity (their biggest way to stay in the game, we’re told), probably to avoid having to plan his wedding, and puts on a fake smile and a fake laugh for the rest of the world. Pretending is his game, you see. So much so that he’s even pretending he’s not already tired of his wife-to-be. So when a few ambiguous purple letters show up at his door coaxing him into a discreet hookup of his dreams, he leaps at the chance. But when he has to return to his mundane day life, he can’t stop obsessing over his anonymous lover and soon finds himself caught up in a web of deceit and mystery.

What made Thunder Road feel so distinct was its superb tonal juggling; even The Wolf of Snow Hollow succinctly blended film noir with the horror genre. So it’s no surprise that The Beta Test is a masterclass in walking that tightrope too – part-thriller, part-comedy, part-sociopolitical commentary. The film seamlessly weaves Cummings’ trademark quirk and awkward wit with sustained tension and jet-black ideas of identity and toxic masculinity amongst other things. Scenes that go from funny to nail-biting at a moment’s notice. And it’s hilarious too. While the idiosyncratic comedy won’t be to everyone’s liking, Cummings has developed his own trademark sense of humour within just three films and it’s very on-brand for the filmmaker/actor.

Of course, he matches his storytelling skills with a performance that’s completely engrossing. Hines is a completely ruthless, despicable Hollywood-type and Cummings turns in a superbly unhinged performance; he represents everything bad we associate with the industry – elitism, misogyny, deceit. He is a bad guy through and through and it’s refreshing to see the actor in such a different role. The supporting cast also turns in strong work; McCabe has a small but funny turn as Hine’s best friend but Newcomb, especially, gets some great opportunity to really chew up the scenery towards the end.

The plot can seem a little nonsensical at times. While the script is deftly written, the story has a few secrets tucked beneath the surface that can mean it’s a little hard to follow for a while. Cummings and McCabe are clearly just setting things into motion but the first act is a little tedious as a result. We don’t always know where it’s going or what it’s trying to achieve. However, when the film does finally reveal the aces up its sleeve, and how everything ties into one, it comes together rather brilliantly and offers a thoughtful and insightful re-contextualisation of the whole concept up until that point. But you still can’t help but wonder if maybe the punchline could have come a little bit earlier. Still, it’s one hell of a ride.