Movie Review ~ Free Time

In February, I celebrated 16 years at the same job (yes, this critic-ing is my side gig; I hold down a ‘big boy’ career that is graciously flexible with my film fest-ing and such), and I almost couldn’t believe that I had spent so much time in one setting. When I started, I remember hearing the announcements of anniversaries and saying to myself, “Wow, I can’t imagine doing the same thing for ten years!” Now nearing the two-decade mark, it’s hard to picture where else I would have felt so supported and encouraged to be creative both in my work and outside in my personal life. I’m lucky, and I know it.

I also recognize that this day-in, day-out routine isn’t for everyone. I’ve not only experienced it firsthand, but I’ve also seen it depicted in film. The pursuit of freedom from the mundane and the desire to break free from the shackles of confinement in an office cubicle has been a perennial quest in countless classics over the years. Think of the tone set by 1980’s 9 to 5, Glengarry Glen Ross in 1992, or Office Space in 1999. 2009’s Up in the Air sent shivers through many gleaming corporate towers, especially to anyone who felt relatively secure in their position. You can also throw Ryan Martin Brown’s Free Time into this mix because it resonates with the contemporary mood of a generation disillusioned with the traditional definition of work-life balance.

All Drew (played by the charismatic Colin Burgess) can see before him at his mid-level Manhattan job is a looming specter of incoming adulthood and the stale rigidity of corporate life. Asking his manager (James Webb) for a change in role, after some uncomfortable back and forth, he winds up giving his two weeks’ notice instead, trudging out into a difficult job market in one of the most expensive cities without a firm plan to make money. This bold decision to leave a comfortable desk job seems like a noble attempt to reclaim autonomy and rediscover passions, but it is a double-edged sword. Navigating the uncertain terrain of life post-resignation, Drew realizes that by liberating himself from the grind, he’s forced himself into the maturity he thought he could stave off.

Brown, making his feature film writing and directing debut with Free Time, crafts a narrative arc familiar to anyone who has seen a movie where the protagonist carpe diem-s their way into self-discovery. Yet there is something to the commentary about the pervasive apathy that has soaked through the current generation’s relationship with the conventional work model that gives it a poignant twist of authenticity. As we move forward in an increasingly digital era (with advances in AI that see an already shrinking job force reducing further), Brown reflects some of the “what’s it all about” feelings and does so with wit that more than makes up for the low-budget indie feel of the film.

Of course, if we couldn’t stand the messenger of this reflection, Brown’s observances in Free Time wouldn’t have had any traction, so thankfully, Burgess is endearingly comical as Drew. Wiry and wired, you watch him make absurd choices and statements he can’t back up, yet he’s so delightfully droll that he can easily keep us engaged every step of the way. The cast comprises some talented comedians and NYC actors, but it’s Burgess that you’ll remember most.

Despite its modest budget, Free Time takes us through the cityscape of NYC and embraces its indie roots with inventive storytelling and a clear vision from Brown. With its astute observations, engaging lead performance from Burgess, and neatly constructed narrative, the film leaves a lasting impression, inviting audiences to consider the timeless question: What do we do with our free time when the constraints of society are lifted?