The Beyond press kit offered pretty much the same synopsis, but also added a storyline: Love in Limbo is a good time comedy flick about love, zits and rock ’n’ roll!
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Puffing on Lucky Strikes lit by Zippos, driving Studebakers adorned with tailfins, all the while shaking, rattling and rolling, the characters in Love in Limbo are innocent of greed, unaware of the world’s looming crises, free of flower power and safe from sex. Ken Riddle (Craig Adams), to whom sex is a mystery, joins his two mates from work, Arthur (Russell Crowe) and Barry (Aden Young), on a trip to Kalgoorlie’s infamous red light street in a fumbling attempt to collectively lose their virginity. Remember a time when nothing was more important than the opposite sex? The rear of the slick asked a question, and provided a short synopsis:
The original domestic VHS release worked the title into the pitch on the front cover:
We set a much lower bar for an Australian film.(Note: this listing contains spoilers and also sexual content). Mentioned above are only a few issues, there are too many complaisant moments in this film that make it barely engaging, yet the overwhelmingly positive feedback given on this website (currently at %95) which I believe is mostly from Australian critics indicates one thing. If this approach is to change, we must see him going through a serious struggle to earn that sort of mental strength, but again the story simply lets him without paying any price to switch gear and offer a great deal of openness and courage. While it is possible for an emotional wreck to empathize with others, in this case, we have a character whose choice for dealing with emotional upheavals is escape.
Moving on to the next trope, when the lonesome detective gets to play a saviour to the victim's brother while drunk driving and a shoulder to cry for the victim's sister when she suddenly confides her twenty-year-old guilt, we are to believe that a cop who himself finds refuge in drugs to run away from his own dark feelings is so adeptly capable of giving generous care and compassion to some strangers. The story conveniently ignores the fact that such a degree of vulnerability can only be shared with someone who has earned that kind of trust, and it fails even to offer a single trope-driven scene to cover this point. Now that the trope is ticked off and we have some conflicts arrayed, the plot jumps over resolving this conflict and simply have the family members, without any change in their external or internal circumstances, to not only cooperate with him but also see him as a dear friend to the point of confiding their utmost feelings or reaching out for help in their very messed up family matters. The story unfolds as the victim's family refuses to talk to the detective because he is a cop and a white one too. He also is a drug addict and his addiction plays no role in his major decision-making moments nor becomes a struggle to prevent him from performing his heroic actions. The guilt of killing someone in the past. No real reasons are offered for the detective's emotional involvement nor the way he resolves the mess the victim's family is in. The story just ticks off the tropes of a lonesome, emotional wreck sort of cop who gets too personally involved in a case.
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Aside from the stunning cinematography and some convincing performances, This movie is a recycled crime noir half-baked from the clichés of the genre.
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