A visual journey through ‘Lost & Found in Cleveland’

Delving into “Lost & Found in Cleveland,” the cinematographic voyage is undeniably its standout feature. Davon Slininger, the mastermind behind the camera, crafts a visual ode to Cleveland, presenting it as a nostalgic and somewhat outdated gem. This debut feature by Marisa Guterman and Keith Gerchak, both actors turned writer-directors, offers a decent yet predictable seriocomedy that borrows elements from renowned filmmakers Richard Curtis and Christopher Guest.

The charm of Cleveland’s enduring architecture

The film’s opening montage, featuring Bobby Darin’s retro track “Artificial Flowers,” sets the tone with a juxtaposition of upbeat music and somber lyrical themes. It seamlessly introduces a cast of characters whose aspirations revolve around the imminent visit of a fictional antique appraisal show, led by a character reminiscent of the iconic “Antiques Roadshow” host.

Cleveland’s architectural backdrop, with its timeless facades and undisturbed interiors, becomes a pivotal character. The city’s portrayal evokes a sense of stalled progress, lending a quaint charm that aligns with the film’s narrative arc.

A tapestry of dreams and struggles

Characters and their unfulfilled aspirations

Dennis Haysbert portrays a postal worker longing to honor his late mother by opening a restaurant, a dream hindered by financial constraints. Stacy Keach, embodying a retired veteran battling senility, is counterbalanced by June Squibb, his devoted librarian wife striving to anchor him to the present.

On the comedic spectrum, Liza Weil shines as a high-society figure trapped in loneliness, her aspirations now fixated on proving a statue of the goddess Juno as a hidden treasure. The film deftly explores the friction between her and her resistant teenage daughter (Vanessa Burghardt), adding depth to their story.

The contrasting collection of treasures

University lecturer Santino Fontana and his wife Esther Povitsky introduce a subplot revolving around a controversial inheritance—a collection of offensive “Aunt Jemima”-style memorabilia. This narrative thread intriguingly critiques the clash between sentimentality and racial insensitivity.

The arrival of “Lost & Found”

When the “Lost & Found” crew, led by Mark L. Walberg, descends upon Cleveland for a one-day shoot, the atmosphere shifts towards a satirical bent reminiscent of “Best in Show.” Characters reveal competitive and oftentimes officious streaks, adding a layer of whimsy and critique to the film.

Supporting characters and their quirks

Jeff Hill and Rory O’Malley stand out as a snobbish gay couple, often clashing with fellow appraiser Loretta Devine. Dot-Marie Jones brings a gruff charm as the event’s house manager, while fleeting appearances by Martin Sheen and Jon Lovitz as an antiques expert and the city’s mayor, respectively, add a touch of star power.

The screenplay, while managing to tie up loose ends, unfortunately leans heavily on predictability. Characters are rewarded or thwarted in ways that align too neatly with their moral standings, reminiscent of the simplistic “naughty or nice” dichotomy.

Pacing and tonal cohesion

The primary challenge lies in the film’s formulaic approach, which stifles both humor and emotional resonance. Attempts at quirkiness falter, and truly original moments, like Haysbert’s fantasy dance sequence, are lackluster in execution.

A subplot involving a young boy’s obsession with an obscure President, William McKinley, offers potential for surreal humor but ultimately falls flat. Other historical references, such as affiliations with “The Wizard of Oz,” seem randomly inserted, leading to little impact.

Technical craftsmanship and nostalgic allure

Despite its flaws, “Lost & Found in Cleveland” boasts an appealing surface finish that might deceive viewers into enjoying their experience. Editor Tricia Holmes ensures a breezy pace for the film’s two-hour run time, while Music Supervisor Jim Black curates a nostalgic soundtrack filled with pre-rock classics, providing both a period-specific bounce and ironic undertones.

Kristen Adams’ production design enchants, reflecting Cleveland’s faded splendor and the inhabitants’ frozen-in-time decor. Sven Faulconer’s score of piano and orchestral strings subtly enhances the film’s more tender moments.

In essence, while “Lost & Found in Cleveland” may not redefine the genre or offer groundbreaking storytelling, it hums along pleasantly, buoyed by its visual charm and nostalgic elements.

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