Ever since "The Big Chill" came out, almost everyone (outside of film critics) has forgotten that film's obvious inspiration, John Sayles' "The Return of the Secaucus Seven."
But writer/director/producer Sharon Pollack certainly hasn't forgotten. The first-time filmmaker has taken more than a little inspiration from the Sayles movie, as well as "The Big Chill." In fact, she's basically remade those two films - down to the musical interludes, athletic competitions and the big meal scene, albeit with a lesbian theme - without so much as a thank you.
That might be somewhat forgivable if the dialogue consisted of more than just pleas for gay acceptance, if the characterizations weren't so cliched or if the performances were even slightly decent. But they're not. There's nothing here that hasn't been done before a million times, and at least a million times better.
See if this sounds familiar: A group of seven "thirtysomething" friends, who haven't seen each other for years, comes together for an event - in this case, a Jewish Brith ceremony for a child's circumcision - and then heads into the woods for a weekend reunion, which will, of course, culminate in the resolution of several long-standing feuds.
The only twist is that the child's legal parents are Katie (Stacey Nelkin) and Victoria (Monica Bell), a married lesbian couple. Four of their five returning friends - Josie (Ellen McLaughlin), Maria (Olivia Negron), Luce (Andrea Weber) and Gina (Gabriella Messina) - are also lesbians, with a variety of problems.
Luce, an alcoholic stuntwoman, is still dealing with the death of a partner in a drunken-driving accident 20 years previous. Josie and Maria used to be lovers, but Maria dabbled with heterosexuality and now has two children. And speaking of children, the sole straight member of the group, Sarah (Carol Schneider), is longing for one of her own, but she and her husband have been unable to conceive.
Of course, we might be slightly interested in these characters and situations if the dialogue didn't sound so much like heavy-handed pro-gay sermons and if the acting was somewhat competent.
With the exception of Nelkin, last seen in Woody Allen's "Bullets Over Broadway," the cast is made up of relative unknowns, most of whom are extremely stiff and seem uncomfortable and unrehearsed.
Pollack's direction is equally stiff and uninspired, though she shows admirable restraint and taste in dealing with the amorous relationships - except for a scene that explodes into a fairly explicit orgy of lesbian sex.
"Everything Relative" is not rated, but would certainly receive at least an R for its embarrassingly explicit lesbian sex scenes, nudity, profanity and a few vulgar jokes and references.