Written and directed by Kevin Jones, Martin Decker has embarked on a brand-new career as an internet superstar. For the past year he has been making homemade TV shows in his bathroom. But despite his claims to have the full support of his family, his life falls apart. He is now the subject of a film that is part documentary, part surreal tragic comedy. Starring: Keiron Self, Richard Elis, Justin Evans, Lloyd Grayshon, Kevin McCurdy, François Pandolfo, Elin Phillips and Lynne Seymour.
The first thing you have to hand to Kevin Jones with The Martin Decker Show is just how real it feels, so much so that it’s almost meta. The style is incredibly purposeful in how grounded, unglamourised and clumsy it is. A lot of effort has gone into giving that perspective of being very homemade and filmed with inexperience and over-eagerness. It sounds simple but in fact is potentially more difficult to choose and frame every single shot how the leading character would. There’s also a lot of creativity which goes into it, throwing back to the original days of YouTube which was more about comedy and home-movies than self-promotion.
It plays around with stop-motion and has a sarcastic, backhanded sense of humour. The documentary style feels almost like an episode of a DIY show, it has that casual tone and slightly cheeky personality. There’s a lot of focus on the cringey, unaware, naivety in its first half, exploring Martin’s (Keiron Self) childish nature. That works, although it won’t suit everyone as it’s a specific, quite hyper, kind of comedy but what’s interesting is what the story reveals as time goes on.
Eventually, it unravels the different factors leading to Martin’s current internet talk show obsession and there’s some great emotional layers at work. Unfortunately, they are being held back by the silly nature of most of the film, so they don’t get their full time to shine but still have plenty to add, particularly in the film’s final moments. While The Martin Decker Show could use a boost of sincerity, it does still get across the themes of mental health, depression, childhood trauma and the repression and stunted maturity which come with all of those.
Keiron Self captures those themes with a lot of sadness and plenty of midlife crisis vibes. He creates the type of personality which is easily triggered, insecure and spiteful but at the same time he’s never dislikeable. Self does a great job of portraying a brokenness and wholesomeness which helps to balance his chaotic, childish side.
François Pandolfo does well to create one of those triggers, blending well with that insult style of comedy. Giving an air of bullying that hides his own insecurity but leaves it open to the possibility that there’s a better side of him somewhere. Elin Phillips is a nice addition for some unpredictability and manic energy. While Lynne Seymour may join late in the game she adds a needed note of maturity, kindness and responsibility to balance the film before the credits roll.
The Martin Decker Show dives into midlife crisis mode, with its leading man attempting to both avoid and solve all his problems by throwing himself onto the internet. It’s well styled to feel authentic and genuinely makes you wonder if it is in fact real, rather than written. It can go a little over the top which sadly limits the sincerity it can build, hindering its emotional side from growing as much as it had the potential for. However, for a debut feature from Kevin Jones, it has a solid concept, the visual is well thought out and it’s a strong first outing with great performances.
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