High Road

In the sun‑splashed sprawl of Los Angeles, a loose‑cannon vibe crackles through every street corner, inviting improvisation and chaos in equal measure. Director Matt Walsh lets the city breathe like an open‑mic stage, where the lines between a laid‑back gig and a risky hustle blur as easily as a chord change. The film’s tone pivots between sharp, ad‑lib comedy and the kind of earnest, off‑beat drama that feels both wildly spontaneous and strangely intimate, giving the viewer a sense that anything could happen after the next punchline.

At the heart of the story is Fitz, a former rock‑band drummer who now runs a small‑scale marijuana operation out of his garage, trying to keep the rhythm of his life from falling flat. His girlfriend, Monica, works at a news outlet and balances ambition with a lingering affection for the man who still plays the drums in his head. Across the driveway lives Jimmy, a 16‑year‑old with a rebellious streak who skips school and suddenly becomes Fitz’s unlikely partner‑in‑crime. Their interactions are laced with the film’s running gag— the “triangle theory” that everything connects in threes— which adds a playful philosophical layer to their already tangled relationships.

When the band finally dissolves, Fitz finds himself juggling the demands of his side hustle, the expectations of Monica, and Jimmy’s reckless energy. A seemingly routine deal goes awry, nudging the trio into a whirlwind that whisks them beyond familiar neighborhoods and into a series of unpredictable encounters. The resulting journey—part road‑trip, part comedic escapade—exposes the characters to a cast of oddball figures and absurd situations, all while they try to stay one step ahead of the chaos they’ve unintentionally unleashed.

Last Updated: November 25, 2025 at 14:54