As much as we tend to gravitate towards the films we know, there is something special about making a discovery. We form a relationship with every work of art we encounter, and while most of us are aware that we are sharing with experience with countless other people in several instances, there are some that feel a lot more personal, particularly those that seem obscured by not being in the public eye. This is the case for much of independent cinema, since despite being far more chic these days, the vast majority of independently-produced films fail to get a substantial enough viewership, which can signal quite an uphill battle for self-financed and small-scale filmmakers. This is the case for Paulie Go!, a wonderful little comedy written and directed by Andrew Nackman in his filmmaking debut – the kind of quaint and charming independent comedy that we don’t necessarily seek out but rather encounter, the film is an absolute delight. Centred on a young prodigy who believes he has the capacity to change the world through his innovative work in artificial intelligence, the film is a smart and insightful character study that combines many different ideas into the form of an upbeat and exuberant story of searching for oneself while trying to solve some of the most challenging problems that face many people, whether they’re the social issues that centre around the difficulty that comes with the status quo, or more philosophical or scientific quandaries, all of which are woven into this otherwise very light and charming film. 

Paulie Go! is a really tremendously charming film, the kind of very easygoing independent comedy that never takes itself too seriously, but offers something more than just the bare minimum. The film heads in many different directions, and despite being relatively traditional in format, there are some fantastic surprises compacted into this already small film, which allows it to be a much more complex work than it may seem on the surface. Taking its cue from contemporary conversations on the future, specifically in the potential for artificial intelligence to become an omnipotent presence in our world, the film carves a decent niche for itself as a work of theoretical comedy. It may seem pretty ordinary, but there’s so much value embedded in the film, and it becomes a fascinating adventure that is rooted within reality, but willing to look forward to the future to facilitate some of its more abstract conversations. As one of the more intelligent comedies of recent years, and not the kind that hides behind a veneer of being supposedly targeted at intellectuals when in reality it is more pedestrian, Paulie Go! is really endearing, and refuses to pander to those who may not be on board with this specific narrative. It’s a curious approach that works out splendidly, especially considering how complex some of the discussions tend to get in the final act, which can be divisive depending on how the viewer feels about the specific kind of story progression, which is anything but conventional, but still feels as well-rounded and endearing as any other kind of independent comedy that have become sleeper hits over the years.

What propels Paulie Go! and makes it so endearing is how it is a film so insistent on the perpetual search for knowledge, which is what makes it such a special work of contemporary comedy. The science at the heart of the film may be questionable (to his credit, the director never lays claim to being a scientist himself, but rather a storyteller with an inherent interest in the material), but it doesn’t matter when we realize the depths to which he manages to take this story without necessarily committing to the details that would only frustrate those who demand perfect theoretical conclusions from such stories. For the rest of us, Paulie Go! is absolutely wonderful, especially since it is not afraid to be a bit smarter about some of the more complicated questions that reside at its core. Not too many broad comedies actually endeavour to question the boundaries between humanity and machinery, and while it is not perfect in how it looks at some of these ideas (it never once evokes the Turing Test, the benchmark for all of artificial intelligence, which would’ve been a great detail to have in the film), it is still remarkably thorough – and it even manages to exceed the science and comment on social issues, especially the role of women in STEM, which remains a hot-button topic in many spheres, particularly in how we are living in a world that is finally managing to evoke the overdue sense of inclusivity in spheres formerly occupied by one specific kind of person, which only adds nuance to this already wonderfully layered and intriguing film that is a lot more enticing when it is provoking some thought alongside the fervent and irreverent comedy.

The film is anchored by two really exceptional performances from a pair of young actors who prove that talent is present early on for many people. Ethan Dizon and Madison Wolfe are wonderful, playing the protagonists with such incredible consistency, it’s staggering to realize that these are essentially child actors. Both of them had some experience, so they were not complete newcomers, but this was a starring role for both of them after a few years of supporting work, normally playing the younger counterparts of characters in flashbacks or sequences in which their origins are explored. Dizon in particular is a revelation – there’s such a narrow boundary between this kind of geeky, socially-awkward character as either endearing or unbearable, and it depends almost entirely on how far the actor is willing to go to highlight their flaws, but still keep them at a level where they are somewhat likeable, which is the ultimate challenge when it comes to playing the titular role. He commits entirely to the role, and while it isn’t necessarily the most complex or revolutionary character, it has a sincere depth that is difficult to ignore, especially when it comes to unpacking the numerous fascinating ideas that he represents. Wolfe is the polar opposite, playing the quintessential country girl who may seem like an airhead, but actually has the street-smarts that her new companion lacks, making for a very peculiar but captivating odd couple scenario that is just a delight from beginning to end.

Paulie Go! is not a film that is particularly easy to notice – at a cursory glance, it seems like traditional, family-oriented fare that doesn’t offer much outside of a decent amount of entertainment, which is normally sufficient, but not all that interesting when taken as a whole. The film plays with conventions radically and fascinatingly – each moment builds on the previous one, and we encounter a range of ideas that are almost too smart for something that seems so straightforward. It may not be particularly revolutionary, but it does provoke some thought, which is quite rare for such a small comedy that is based less on the facts, and more on the inherent charms that would normally make it appealing to the vast majority of viewers. There’s a lot of interesting content here, and even if it starts to lose momentum towards the end (where its pursuit of a more intelligent series of conversations can become slightly enveloping), there’s still so much to unpack, which may take some viewers by surprise, especially those who don’t realize the scope of what this film is trying to say, as well as its methods of doing so. It’s a funny, adorable and well-crafted comedy with a lot of heart and soul, which is contrasted by a level of intellect that is compelling but not overpowering, with the total lack of patronizing being one of its most significant qualities, and the reason why this gem deserves much wider attention, since it has the potential to be a great success if enough people pay attention to it, which is the biggest challenge of them all, but one that can easily be rectified should more people take note of this lovely little film.