The cast gives their all, but the film ultimately has nothing to offer.

Manodrome makes all the obvious moves.

With the help of a hideous haircut, Eisenberg gives a convincing performance as a repressed loser who never discovered who he is and has officially run out of time to start. But Trengrove’s script is as directionless as his protagonist.

With friends like these, who needs family? It’s exactly the problem Trengove’s feature highlights and tries to warn against. With that token, it bypasses all the deeper themes it could have used to flesh out its obvious warning signs.