Irene in Time

Irene has a problem: She wants the equivalent of her beloved father in every man she meets. Of course, said gentlemen are either chronic cheaters or unable to finish a date with her; it doesn’t help that Tanna Frederick’s maladroit woman-child is played in a manner that suggests a selective understanding of human behavior. Why Irene needs to meet a daddy doppelgänger isn’t a question for her therapist so much as Henry Jaglom’s. His closing dedication—“For my daughter”—turns this into something actively creepy, as opposed to merely brainless, boring and inept.