PopSyndicate.com

Flakes is a cute comedy with themes that go deeper than it’s sugary plot may suggest. 

Neal (Aaron Stanford) is an independent individual.  He abhors the corporate homogenization, the stamping out of the little guy, taking place in the world today and he’s not afraid to show it. 

But, he’s been avoiding his own dreams because the possible rejection or even that’s sure to follow if he finally finishes the album he’s been working on for what seems to his supportive, if not pushy, girlfriend Miss Pussy Katz (Zooey Deschanel) like forever might not be what he expects. 

His meantime job as managing bowl slinger at Flakes cereal bar, a fixture on New Orleans’ Frenchman street, has become his main gig, especially when Stuart (Keir O’Donnell), a weasily entrepreneur threatens Flakes with the introduction of his own new corporatized cereal bar across the street.  But while Flakes boasts a vintage style, colorful characters and unique cereals from another era, Stuart’s “New Original Flakes” has the bland and stifled feel of a mega coffee chain. 

After a disappointing day trying to sell her one-of-a-kind screen printed shirts to the dime-a-dozen tourists in the French Quarter, Miss Pussy Katz tries to free up Neal’s time for his music and clear her own head by offering to cover his shifts at Flakes for one week.  After a promise to keep their work and personal lives separate, he fires her, sending her straight across the street to the big bad capitalist enemy. 

While Neal and Flakes’ one Lucky Charm short of a full box owner Willie (Christopher Lloyd) attempt to wreak havoc on their new business rival, Miss Pussy Katz serves up the charm and whimsy that customers crave in a local cereal bar, bringing in the business and bringing out what little hip-ness Stuart has. 

Suddenly Willie discovers that Flakes will soon become the property of his bank, thanks to his book keeping, or lack thereof, leaving New Original Flakes the only cereal game in town.  Neal has no choice but to fill out an application. 

Meanwhile, Miss Pussy Katz has been appointed Assistant Manager of New Original Flakes and to celebrate she takes Neal to a fancy dinner.  But she soon realizes that the plan she thought she shared with Neal for their lives as iconic rock star and famous artist couple traveling around the country in a shiny vintage air stream trailer was only a dream to him.

With a job he hates, an album no closer to completion and a girlfriend who loves him, but just can’t be with him, Neal must decide what he’s going to fight for and actually get off his ass and do it. 

There are many things to love about Flakes: a quirky cast of characters, wonderful production design that says as much about the characters as their dialogue and the true-to-life way the right bowl of cereal can connect you with the carefree moments of your childhood. 

Zooey Deschanel is her wonderfully charming self in this film.  Her creation of the unique artist with the dreams and desires of every woman in Miss Pussy Katz is second only to Christopher Lloyd in the seamlessness of character.  Her moments of personal tension with Neal brought on by their professional stressors are a great source on conflict in the film. 

Keir O’Donnell plays the complex entrepreneur, struggling to rationalize his franchise formula with the independent spirit that makes Flakes cereal bar so successful.  He does a great job standing against everything the protagonist believes in as a soulless suit while still being an individual who is learning and growing himself. 

The supporting cast of locals in Miss Lucille, Old Tom and Bruce, the cereal connesuier, are all equally engaging and add to the overall feel of the film. 

Aaron Stanford’s performance lacked the conflict his character was written to possess.  Neal is a person, not unlike many others of his generation, who is struggling with the choices he wants to make in life.  He is so afraid to fail and become what he hates that he can’t seem to motivate himself to try.  However, all these conflicting emotions seem to be lost on him. 

The production design clearly shows the differing worlds of Flakes and the New Original Flakes.  The collection of vintage cereal boxes, the stoner’s patio, the lovingly abused furniture—even the rag tag collection of bowls and spoons, all create a unique environment that the viewer is immediately drawn to from the first frame.  As Miss Pussy Katz says, “People don’t come to Flakes to eat cereal, they can do that at home.  They come to Flakes to be a part of something cool.”  And it shows.  Stuart’s New Original Flakes, on the other hand, is starkly filled with cold plastic furniture, the cereal not in its colorful boxes, but bland plastic tubs and each bowl and spoon are exactly the same as the rest.  As Miss Pussy Katz exerts her influence, the viewer can see the changes ever so slightly, as she breathes the coolness into N.O. Flakes. 

There are things that Flakes lacks—for one, laughs.  For a comedy, this film won’t busts a gut.  There are many points at which the viewer chuckles and some intelligent jokes that run throughout are silently acknowledged, but real laugh-out-loud moments, there are none. 

For those of us who have ever spent an entire Saturday morning plopped in front of the couch picking every last marshmallow from a cereal box, Flakes is a treat.  A film about the ways we motivate ourselves to become better while still remaining who we are—even if that person is a bit childish.  It’s a film about the difference between making dreams and making plans and how the two don’t have to be mutually exclusive. 

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