It's a cliché that every avant-garde becomes an establishment -- but it's a cliché because it's true. When I refer to The Go-Getter, written and directed by Martin Hynes, as 'a Sundance film,' that's not because it represents the bold, the intimate, the personal and exciting; I call it 'a Sundance film' for the same reason grocery stores slap the most simple label on a generic product. Let's run through the elements -- and if it sounds like I'm going down a checklist, that's simply due to the fact that that's pretty much what Hynes does. A wounded, boy-man protagonist, played by a cute-yet-soulful actor (in this case, Lou Taylor Pucci) impulsively takes a long-distance road trip; along the way, he meets a variety of quirky characters played by big-name actors taking a break from better-paying jobs (Bill Duke, Jena Malone, Maura Tierney and more) and learns a lot about himself.
There's a threat of violence in the air, plus some minor crime -- our hangdog, haunted hipster hero has stolen the car he'll need for his voyage of inner discovery, and the owner of the car just happens to be a sassy, plucky, life-affirming sprite (played by Zooey Deschanel) who does not call the cops, but, rather, begins a flirty phone conversation with the person who jacked her ride, because she's a little crazy and a little sad and has been -- jeepers -- just waiting for someone like our hero to enter her life. Oh, and there's an ace soundtrack from a rocking indie artist, too! And dream sequences! And wacky tricks with a video camera!