"It only takes just one person to make you feel special and valid and like you belong in the world." Janice (Fischer) is having a hard time finding and keeping a job not to mention trying to figure out what to do with her life. Tim (Messina) is doing what he wants to do with his life but feels unappreciated and is not making money at it. Both giving up they take jobs working at the local zoo. They strike up a quick friendship and want to develop more, but there are obstacles standing in their way. This is the definition of a sweet movie. I have never been a big fan of the typical love story movies mainly because they are so unbelievable. The "good guys" are overly good and the "bad guys" are way to horrible. While this did have a little of that this one is way more realistic and I would call this a real-life love story. This is a very sweet movie and the type of date movie that both men and women will enjoy. Overall, one of the better independent love stories I have seen. I give it an A-.

I like small independent films and this one fits the bill. It's not "great" but I felt the time was well spent and it beats 90% of the "relationship comedies" on TV these days.

Actress Jenna Fischer (form TV's "The Office") Executive Produced this film which stars her and actor Chris Messina. As you'll see from other reviews posted here, it's the story of two people trying to find, not only their place in the world, but a person who will understand them. The title comes from Messina's character who paints his face with silver paint and acts as a moving "stature" on the streets of Detroit, MI. (I'll point out here that nowhere in the film are you given a clue as to what "city" the film takes place - until the final credits. Detroit does not have identifiable buildings like New York, Chicago, or San Francisco.).

Both leads are excellent, in my opinion, but the rest of the cast overact as "happy people" in Director Lee Kirk's attempt to make Fischer and Messina's character seem more introverted. It seemed forced to me.

The 96-minute film is worth your time if you like "droll" - though smart - characters.

There is one bonus feature: A 3 ½ minute interview with Fischer and writer Director Kirk, that reveals that during the four years from when Fischer optioned the script till the film was released, they began dating, got married to each other and had a child together.

As I said, it's not great but well worth seeing on your home TV.

I hope you found this review both informative and helpful.

Steve Ramm
"Anything Phonographic"

With a solid comic ensemble including Jenna Fischer, Chris Messina, Topher Grace, and Malin Ackerman, I was prepared to be swept up in the contemporary romance of "The Giant Mechanical Man." Fischer's charms are on evident display here, she nails the every woman quality that makes her so inherently likable. And Messina steps into a leading role with ease, even though his "art form" of dressing in silver paint as a stilted street performer never rings true. As I've seen dozens of these acts, Messina lacks the technical sharpness to be so smug in his skills and contribution to the art world. Of course, this being a thoughtful indie--these two attractive and winning actors represent the lonely and disconnected among us. "The Giant Mechanical Man" becomes, thus, a very familiar movie in both its themes and plotting. I even have a nickname for these films, I have truly seen them so many times (and more often than not, they are meaningful low-budget indies). This is what I call a Lonelyhearts films where people who are attractive, intelligent, and appealing somehow manage to live depressive lives yearning for a soul mate.

A certain heavy handedness is apparent in the character introductions. Fischer is such a hard case, she gets berated and set-up by her overbearing sister (Ackerman, lacking any form of subtlety). One such hook-up is with Grace (in a terrible wig) as a creepy and unrealistic self-help guru whose bluster masks his own visible insecurities. And Messina is dumped by a girlfriend who doesn't understand his commitment to his art (never mind that he doesn't support her and goes out of his way to embarrass her at a work function). The two wander the city, dine alone, and stare purposefully into space while moody music plays. These are all the cues you need to realize that these thirtysomethings are deeply unhappy. As movie fate would have it, the two both search the newspaper help wanted ads (no computers in the city?) and get different, but instantaneous, jobs at the local zoo. They are, of course, drawn to one another. Fischer, by the way, is also fascinated by Messina's silver alter ego whom she has opened up to in a moment of vulnerability (she doesn't know it's him. Even when she goes to his mostly empty apartment, she must not notice the work table with all the makeup).

As expected, there is nothing really keeping these two apart but the screenplay builds in some manufactured obstacles. There are moments of amusement, but things unfold at a very leisurely pace. What do you think is going to happen? Will these two get together? Are nights of depression a thing of the past? I won't spoil anything, but I suspect you already know the answers. But without digging too deeply, the movie ends just as it arrives at its most pivotal moment. As I said, I like both Messina and Fischer. I just wish that I hadn't felt like I'd seen this movie at least a dozen different times in the past. Watching indie films, you'd think every city-dweller is isolated and unhappy just looking for love to complete them. It's a stereotype that is becoming a bit tired (especially when cast with actors that would seem to have everything going for them). Bonus points, though, Fischer finds a small screaming toy figurine. I own the exact little figure! It comes from the aptly titled Horrified B-Movie Victims Set from Accoutrements. About 3 1/2 stars. KGHarris, 10/12.