Coin Toss (2012)

Content by Tony Macklin. Originally published on July 29, 2013 @ tonymacklin.net.

Coin Toss is a good-natured - if disjointed - indie.

It has enough genuineness for one to root for it, but it struggles to transcend being stilted.

The movie's two best assets are director Satya Kharkar and actor Joe Mastrino.

Kharkar, aided by fellow cinematographer Robert Patrick Stern, creates appealing images: opening credits over a coin, a red flower, a wheel spinning, two orange cups, an explosion.

The sound is not equal to the imagery. Characters are introduced by a very irritating, loud effect, and a gentle conversation on a sofa is undercut by intrusive piano music.

There a few false bits, especially a female hotel desk clerk who smiles all the time she is having a conversation about a stolen car.

Coin Toss is the story of Tom Bennett (Joe Mastrino) who, after his mother dies, travels to Chicago with his gold-digging fiancee Linda (Shirin Caiola). He's on a quest to try to recover his mother's fortune, which his cousin bilked from her.

A lucky coin, a lottery ticket, confusion, betrayal and a lot of running ensue.

The screenplay by Mary Trimble is serviceable but uneven. It has a few clever lines - one about Pig Latin and another about toast. But the script is fundamentally shaky and wayward.

Kharkar is fortunate that his leading character is portrayed by an actor as amiable as Joe Mastrino. Mastrino is credible in a role that easily could go off the rails. He doesn't strain for effect, which some of the other actors do.

Shirin Caiola has a thankless role as the gold digger. Brent Foster lacks substance as the conman. Two of the main characters are twins - both played by Steve Parks. It's not Parks's fault, but never has an evil twin been so boring.

One actress who gets a surprising amount out of her role is Angela Kalamaras. She invests humanity in the silliness of perky secretary Belle.

And a special shout out to little Angela Nikic, who plays a bit part. Blessedly, she doesn't seem to know she's acting. And in a film in which there's a lot of "acting," that's a relief.

Director Kharkar's greatest strength is his gift for imagery. If he finds a personal vision and a better screenplay, he could be a director who prospers in the future.

© 2000-2023 Tony Macklin