Two young women come up short on the funds needed to live in New York City. Lauren Powell, a reserved overachiever, is suddenly on her own. Katie Steele, an irrepressible free spirit, is about to forfeit a dream residence unless she finds an apartment-mate. Without options, Lauren reluctantly moves in with Katie. With nothing in common, she and Katie barely speak - until Lauren discovers that Katie is working as a phone-sex operator. This is, Lauren reasons, a good business opportunity; together, they will buy a land line and start up their own answering service. Katie is - it would seem - already in her element, and Lauren catches on quick; it’s not long before the blushing subsides and the candid chatting becomes second nature to her. But as their business partnership takes off, Lauren and Katie’s newfound friendship finds unexpected challenges that may leave them both, as they say, hanging on the telephone...

John Swihart's score for For a Good Time, Call... is interesting enough, but not that impressive that I'd recommend picking up the album, which contains 29 tracks and runs for just 26 min, 09 sec.

It's more a collection of musical cues than it is a straight soundtrack; the first three tracks last for 24, 22 and 28 seconds. It reminded me very much, in places, of Carter Burwell's rather strange score for Being John Malkovich (1999).

I think the main problem for me, if you ignore the fact that this is a little too short and mainly full of cues, is that there are too many themes that are repeated with only slight variations.

4

Darren Rea