(2006, parts originally released in 2004)

by Johnny Web (Uncle Scoopy; Greg Wroblewski)

An art student named Ben is suffering from a bad break-up. The most significant symptom of his love sickness is that time refuses to pass for him. When he's awake the clock ticks in slow motion. When he's asleep ... well, that's his biggest problem. He can't sleep. He just lies there thinking about his outrageously beautiful ex, who is now lying in the arms of a slick douchebag. He chooses to cope with sleeplessness by taking a job in an all-night supermarket, where every employee has the same problem with the passage of time. In this new environment, he passes the time by participating in hijinks with fellow employees and by fantasizing about beautiful female customers. Eventually he finds a new love where he least expects it.

The most interesting thing about the film creation is that the feature-length film is an expansion of a 19-minute short which was nominated for an Oscar in 2004. Because the director was able to retain all the cast members, the original footage appears in its entirety in the protracted 2006 version. Apart from that, there's nothing groundbreaking about the form of Cashback. It's an offbeat romantic comedy with a first person narration by a shy, sensitive artistic type. Occasionally he illustrates an important point about his character by narrating a story about his childhood, ala The Wonder Years.

We've seen that done more than a few times. It's the kind of concept which, when done wrong, can either cause a guy to grow a vagina or to throw solid, heavy objects at the TV screen. But it's not done wrong here. Speaking as one who spent more than a year working the all-night shift in a retail store (and actually liked it most of the time), I can attest to the fact that the writer really seems to have been there, and done that, because the film portrays that environment with sincerity and accuracy, albeit with selectivity. The film has great charm, gentle surrealism, off-kilter humor and acres of very naked flesh in one section. In fact, one of the film's greatest pleasures is the juxtaposition of its sweet G-rated sensibility with its lingering studies of beautiful naked women.

It's not a film likely to be remembered as a favorite, but it's a perfect date movie for grown-ups. Women are likely to appreciate the film's innate sensitivity and the  romanticism of its ending, while an insincere scoundrel like me can pretend to enjoy all that soft-hearted crap in order to manipulate his date's heightened emotions, all while ogling some hot naked chicks, and picking up a few laughs along the way.

Our Grade:

If you are not familiar with our grading system, you need to read the explanation, because the grading is not linear. For example, by our definition, a C is solid and a C+ is a VERY good movie. There are very few Bs and As. Based on our descriptive system, this film is a:



* widescreen anamorphic

* whatever







2.5 Roger Ebert (of 4 stars)
3 James Berardinelli (of 4 stars)
47 Rotten Tomatoes  (% positive)
54 (of 100)


7.6 IMDB summary (of 10)

Good date movie. Men rate it 7.6, women 7.8


B  Yahoo Movies



Box Office Mojo. It was a complete failure. It opened in 22 theaters and grossed only $25,000.



  • Keeley Hazell - breasts
  • Bianca Drakes - breasts with pasties
  • Christine Fuller - breasts
  • Hayley Marie Coppin - full frontal and rear nudity, including labia
  • Janine May Tinsley - breasts
  • Irene Bagach - breasts
  • unknown - full frontal nudity