There’s Harley (Johnny Marra, of the Baltimore Rock Opera Society and a producer here), a homeless white boy that has, presumably, screwed over his friends and family to such an extent that he’s out there struggling, and Manny (Stephen Hill, also credited as a producer), a black, church-going, recovering alcoholic in a halfway house and quite possibly the sweetest guy on the planet. The two strike up a friendship, because Harley is intrigued and Manny has no one else, really. Manny is a damn-near-tragic figure, but you’ll probably get sick of Harley at some point. For many, the first time Harley’s slightly too-sincere demeanor appears on screen will be enough, while others might be put off by his bro dancing at an outdoor festival (at a hipster party sequence that is no doubt a parody of mumblecore indulgence). And if not by then, you’ll probably write the scrappy, chill bro off when he fakes his way into an Alcoholics Anonymous meeting for free doughnuts and holds onto that lie until the movie’s unsatisfactory-in-all-the-right-ways conclusion.