As a comedy American Dreamer isn't that great, or I must have a totally different sense of humour. Nevertheless it's not a bad movie. It is pleasant to follow, no real dull moments, a bit more dramatic than humorous, and enjoyable actors. Peter Dinklage is well casted for this role, an always dissatisfied grumpy character, a role that fits him well. I couldn't believe how well Shirley Maclaine still looks at her age. She was pushing ninety in this movie, and honestly I couldn't tell. We can only wish to look that fit when we will hit ninety. I would give American Dreamer a 6.5 if it was possible on here.

Greetings again from the darkness. Owning a home remains the American Dream, and being unrealistic about the topic makes one an American Dreamer. The first few scenes of the film make it obvious that American Dreamer is not just the title of Dr. Phil Loder's in-progress novel, but also a term that describes him. This is Paul Dektor's directorial debut, and the script is co-written by Theodore Melfi (HIDDEN FIGURES 2016, ST VINCENT 2014) and Christopher Wehner. It's loosely based on a true story.

Phil (Peter Dinklage) is an adjunct college professor who dreams of purchasing one of the multi-million-dollar mansions in the market. Inexplicably, he often crashes the open houses on these properties, or has his friend Dell schedule a viewing appointment. It's inexplicable because Phil earns less than $50k per year. Dell (1980's heartthrob Matt Dillon) is a smug high-producing realtor, and we never quite understand the bond between he and Phil. They are like oil(y) and vinegar, and Dell cuts to the quick when he tells Phil, "You're a dreamer, not a doer." (Just in case every single viewer hasn't quickly figured that out) We've all heard the adage: if it's too good to be true, it probably is. Well, Phil proceeds to learn this lesson over and over ... whether it's through a real estate deal or the attraction of a beautiful woman. When Phil stumbles on an ad (in the classifieds section, no less), he has Dell check it out. The "deal" is for $240k, Phil can buy one of the spectacular mansions he's been dreaming of. The catch? He must accept a "live-in" - the current owner, an elderly woman who Dell describes as "actively dying". Phil is confined to a small, run-down apartment on the property "til she croaks".

Of course, like Doc Holiday in TOMBSTONE, the elderly woman wasn't quite as sick as she made out. Astrid Fanelli (Oscar winner Shirley MacLaine) intends to hold Phil to the agreement which includes his paying upkeep, repairs, and property taxes. This is just one of the pieces that is never explained and makes zero sense. It's clear, these two will go one of two ways - either fight like proverbial cats and dogs, or become close friends.

Phil teaches a class in cultural economics, and the first question he asks his class is, "What do we need to be happy?". Similar to the novel he's writing, there is a "we see right through you" element to the autobiographical account of Phil's own thoughts and dreams (including a fantasy relationship with twin beauties). Bottom line, Phil is not a likable guy, especially after liquidating his retirement fund and selling his personal belongings to get this "deal" (Phil is later seen packing up a U-Haul, though we never see him buy anything after liquidation of his assets).

Supporting work is by Danny Pudi ("Community") as Phil's supervisor, Michelle Mylett ("Letterkenney") as Phil's amorous student, Kimberly Quinn (HIDDEN FIGURES, 2016) as Astrid's lawyer "daughter" and yet another with amorous intentions (though conflicted) towards Phil, and Danny Glover (at 78, not getting too old for this "stuff") as a Private Investigator. The film belongs to Mr. Dinklage and Ms. MacLaine, and they do all they can with the material, expertly generating some terrific scenes ... scenes that too often get crushed by the weight of other scenes and subplots that make little sense. Beyond that, though no one should be pleased with how the characters of Maggie and Claire are written, the film is certainly watchable, even with a weak ending.

In select theaters and OnDemand beginning March 8, 2024.

Owning a home is more than just a roof over your head in America-it's a cornerstone of financial security. Imagine stumbling upon a deal to buy a mansion valued at $5 million for a mere $240,000, with a catch: it becomes yours only after the current owner's demise. Would you leap at this chance, gambling on a future windfall?

This premise unfolds in "American Dreamer," a film inspired by a remarkable account from Chicago Public Radio's This American Life. Peter Dinklage stars as Phil Loder, an economically struggling, twice-divorced economics professor whose dream of homeownership feels like a distant mirage. That is until he crosses paths with Astrid Finnelli, portrayed by Shirley MacLaine, a childless, elderly widow. She offers him her vast mansion for a fraction of its worth, plunging Phil into a whirlwind that challenges his perceptions of the American dream.

Peter Dinklage and Shirley MacLaine form an unforgettable pair, infusing their roles with a blend of gruff charm and deep emotional resonance that begs viewers to metaphorically embrace them through the screen. Their dynamic breathes life into the film, supported by a stellar supporting cast including Matt Dillon, Danny Glover, Kim Quinn, and Danny Pudi, who add their unique zest to the narrative.

Directed by Paul Dektor and written by Theodore Melfi, the film brings laughter, high-stakes antics, and moments that might leave you puzzled. Yet, at its core, "American Dreamer" poses profound inquiries about the essence of happiness, the lengths we'll go to secure it, and how solitude shapes our most transformative choices.

Dinklage's portrayal of Phil makes him irresistibly endearing and authentic, while MacLaine's performance is a delightful reminder of her unparalleled ability to blend sharp wit with deep sentimentality. Notably, the film teases themes of reincarnation, a subtle homage to MacLaine's well-documented beliefs in the subject.

"American Dreamer" not only entertains but also invites reflection on the evolving nature of the American dream, making it a cinematic journey that resonates on multiple levels.

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