I love the lessons this film provide:

• Monty relationship with Liz showed because your comfortable with a situation you shouldn't settle.

• Monty relationship with the older woman showed don't allow your happiness to be based off someone else because disappointment and false hope can follow behind.

This was so reminiscent of the coolest aspects of 80's romantic angst, set in L.A. The music was intoxicating and addictive if you like a sort of Tangerine Dream soundtrack, which I do.

The classic moped, the street scenes with no people or traffic. It created that mythical quality of early 80's L.A. when it was still white and neon, and still the portal to young men's dreams. They even have a young white couple living in central Los Angeles, like they used to in real life.

I've never heard of or seen the lead actor, but he was perfectly cast. He reminds me of a young Beau Bridges in Your Three Minutes are Up. The musical moments when he's on his moped last just the right amount of time and leave you craving more.

But there's a deeper theme here for those thinkers who wonder what it was all about. They drew a clear picture, but you may have gotten lost in the dreamlike qualities.

This young man had been smothered. First by his mother, then by his girlfriend's mother, and finally by a slightly psychotic "cougar." He had no confidence, and no fight in him. He had been fully emasculated and barely able to function in the world.

Often those types lose themselves in dreams they can't fulfill, because they don't have the strength or courage to do so.

The scenes with the older woman will make you squirm. This guy may be 30 in real life, but he looked very innocent, as he was supposed to. Call it a double standard, but that kind of thing when the woman is older creeps me out. It almost ruined it for me.

In My Tutor in 1983, the woman was relatively young, and could not be the character's mother.

The hotel manager character was also perfectly cast. Even his gay glance at our protagonist was done with perfect subtlety. I will search for the soundtrack, but will not give it another watch, due to the creepy sex thing. But nice job by the Schwartzmans nevertheless.

Maybe it's because I'm in the same age-range as director Robert Schwartzman..and because I'm also a white male musician. But this movie resonates more with me than anything I've seen in years! It's the only film I can remember within the past 10 years with an emotional resonance akin to the classic John Hughes films in the 80's. Excellent directing, casting, cinematography, sound-tracking choices make this a supremely enjoyable viewing experience.

Yes, yes…the reference point I keep seeing is The Graduate. Rightfully so. But Dreamland breathes new life into that premise quite well thanks to outstanding performances from Johnny Simmons as the boyish, awkward & oblivious Monty and Amy Landecker as the sexy, wealthy, married older-woman Olivia.

I have to wonder if the role was written specifically for Simmons, because I can't imagine another modern actor doing justice to this role the way he does. Additionally, Landecker is unbelievably sexy throughout, and gives a very convincing and even subtly emotional performance that does more to service the role of the older mistress than Anne Bancroft was able to portray as Mrs. Robinson.

Also worth mentioning are excellent supporting performances from Frankie Shaw as Liz, Alan Ruck as Walter, Beverly D' Angelo as Marie, Jason Schwartzman as Peter, and Nick Thune as Jason the plumber. Specifically Schwartzman and Thune bring their strong comedic talents to the table! I've found myself quoting both of these characters in day to day life..great writing, great performances!

Lastly, the sound-tracking to this film is impeccable. Robert Schwartzman's background in music really shines throughout Dreamland. The ambient pieces are beautiful and tie things together nicely. Theme song "Sad But True" is an EXCELLENT and potentially classic piece of songwriting. The use of Classixx's moody masterpiece "Borderline" as a theme throughout does the film does great service.

This film might not be for everyone, but I can't say enough good things about it! Looking forward to future projects from Robert Schwartzman. I'd love to see him become this generation's John Hughes.