“Why do individuals hold asking me that?” Cora (Megan Stalter) asks someplace across the fifth time in Cora Bora that somebody angrily calls for to know what’s unsuitable together with her. Her reply, when she might be bothered to provide one, is that nothing is. But it surely’s been clear from the opening moments of Cora Bora that that’s very removed from the case.

Her fledgling music profession appears to be going nowhere, regardless of the sweaty willpower with which she lugs her damaged guitar case from one dismally under-attended Los Angeles membership to a different. Her love life isn’t any extra promising: Her open long-distance relationship with Justine (Jojo T. Gibbs) is rising solely extra distant, and the hookups she has on the aspect are extra cringey than satisfying. When she begins to suspect Justine’s fallen in love with another person, she impulsively buys a aircraft ticket again to Portland, the place she unleashes nonetheless extra mess.

That Cora Bora takes all of this in and embraces her anyway, discovering each humor and pathos in her millennial malaise, is essential to its enchantment. But when the movie’s energy lies in its affection for its title heroine, its biggest flaw is a comparative lack of consideration towards the characters surrounding her — yielding a movie that, for all its likable beats, feels flimsier than it ought to.

By far one of the best purpose to observe Cora Bora for Stalter, who in her first function lead efficiency makes a convincing case for a lot of extra. The actress is probably finest identified for her flip in Hacks as Kayla, whose utter incompetence is outmatched solely by her virtually pathological self-confidence. Cora shares with Kayla a basic incapability to be anybody however herself, in addition to a normal air of chaos. However Cora Bora additionally affords Stalter the chance to develop her vary, drawing out new notes of disappointment or uncertainty in Cora’s comedic bluster. In moments the film asks her to dig deep, she breaks Cora open with such uncooked, ragged sincerity that it’s exhausting to look away.

Stalter additionally seems to have a reasonably, if unpolished, singing voice. Cora’s songs (penned by Miya Folick, whose personal music soundtracks a lot of the movie, together with screenwriter Rhianon Jones) are pulled from her personal life, and their lyrics are hilarious of their jadedness. “Desires are silly and so are you for believing in them,” goes one. “Why attempt to be a greater individual when courting apps exist,” goes one other. When a stranger (Margaret Cho) describes one — which begins with the road “Love is a joke and it’ll break your coronary heart” — as a love tune, Cora rejects the label with a flatness that hints at a deeper damage.  

All through, director Hannah Pearl Utt (Earlier than You Know It) captures each Los Angeles and Portland with a sun-kissed glow that appears to envelop Cora in heat whilst she careens from one minor catastrophe to a different. And there are many them: the one-night-stand with a flat-earther (Thomas Mann) nonetheless hung up on his ex, the screaming match with a former pal (Heather Morris) over a previous romantic betrayal, the argument with a flight attendant (Caitlin Reilly) after she tries to assert a first-class seat she hasn’t paid for. At the very least the latter supplies Cora with an alluring romantic chance within the type of Tom (Manny Jacinto), the good-looking man whose seat she’d been attempting to steal.

However Tom, like so lots of the non-Cora characters in Cora Bora, will get little of the depth that Cora does. We’re informed by certainly one of Tom’s mates that he’s “drawn to damaged individuals,” which explains why he appears so charmed by a lady who’s met his kindness with brusqueness at each flip. We get little sense, nonetheless, of why he got here to be that method, or what it’s meant for his previous relationships, a lot much less any concept how that may bode for any future relationship with Cora. The relationships between Cora, Justine and Justine’s new “pal” Riley (Ayden Mayeri) are equally defined greater than felt within the dialogue, with multiple scene of Cora unintentionally eavesdropping on their conversations about her — although by the top of the 92-minute function they’ve constructed sufficient historical past collectively for a intelligent and genuinely touching twist on the rom-com trope of a grand romantic gesture.

As for Cora herself, Cora Bora ultimately will get round to revealing the devastating occasion that compelled her to maneuver from Portland to Los Angeles. But it surely resists the temptation to attract too tidy a line between her previous ache and her present aimlessness. “All those that wander are completely fucking misplaced,” Cora sings within the first act, and within the second it feels like an expression of anger and despair. The remainder of her film, although, makes the case that it’s okay to be misplaced — that Cora’s journey now, messy or unsure although it is likely to be, is value embracing no matter the place she’s been earlier than, or the place she’s headed subsequent.