An nth variation on those gotta-get-outta-this-damn-town twentysomething blues, “35 Miles from Normal” brings nothing remotely special to terrain already over-mined in far better efforts. Flat, poky first feature by writer-director Mark Schwahn is routinely slick enough to kill some time on cable, but watching its characters kill time is an experience unlikely to inflame much theatrical interest.
Protag Jimmy Lee (Gabriel Olds) faces another dull summer in his nameless Midwestern burg. (Locations were shot in rural Illinois.) Though evidently bright — we know because he’s always spouting historical trivia in the irksome voiceover narration — he’s had to drop out of college for lack of funds. A roofing job under longtime pal Reid’s (G. Riley Mills) father doesn’t provide much more than survival cash.
Among other Class of ’87’ers still living with their folks and waiting for adulthood to arrive are goofy, jobless and rudderless best friend Trevor (Alan Tudyk), who more than anything is dying for a little romance. That department is seldom a worry for sassy waitress Amy (Kellie Overbey). She boasts of never sleeping with the same man twice, and provides script’s most insistently juvenile aspect with her unfunny, nonstop scatological comments.
One potential bright spot on the horizon is Madeleine (Jennifer Crystal), who has duly escaped to big-city life but chooses to spend this summer back home, rehabilitating the town’s old public pool as a temporary job. Romantic vibes betwixt she and Jimmy gradually escalate, as they eventually do between (surprise!) Amy and Trevor.
Minor conflicts meanwhile ensue, most centered on a strike at the local factory where Reid works. Since he has a wife and baby to support, his dad feels obligated to lay off Jimmy in order to give the job to Reid. In retaliation — and for lack of any other prospects — Jimmy takes a scab position. This gig places him alongside fellow picket-line crosser Mike (Ethan Suplee), a heavy-set loner whose presence reps flick’s rather strained swing at poignancy.
Schwahn’s script doesn’t milk much that’s unexpected or vivid from these relationships, and the attractive young cast can’t force depth into roles just sketchily conceived. Their main achievement is delivering as naturalistically as possible a lot of lame dialogue. Main problem, however, is that nothing really seems to be holding back principal characters except their own mild, uninteresting torpor. When Jimmy notes he has learned something about responsibility and motivation, this new leaf feels like a required wrap-up convention; no such catharsis comes across onscreen.
Multiple editors haven’t imposed much structure on material in sore need. Lensing indulges the occasional picture-postcard sunset view; otherwise, tech package is competent but unimaginative, with some decent alternarock tunes on the soundtrack providing fleeting energy