Coming out isn’t always an easy process, especially for anyone who has lingering doubts about his or her sexual orientation. However, given the prevailing conditions present in contemporary society, this gay comedy-drama from directors Stephanie Allynne and Tig Nataro stretches credibility where that notion is concerned. Thirty-two-year-old Angelino Lucy (Dakota Johnson) can’t figure herself out sexually speaking. She’s not particularly interested in men, as her sometimes-male companion, Ben (Whitmer Thomas), finds out, but she’s not sure if she’s genuinely attracted to women. She spends considerable time with her bestie, Jane (Sonoya Mizuno), a straight woman whom she’s known for years but who is also about to relocate from Los Angeles to London for work, a development about which Lucy has mixed feelings. So, when Lucy at last opens up to Jane about her possible lesbian leanings, she does all she can to get her friend a date before she leaves for England. But, somewhat perplexingly, Lucy hesitates at every turn, fearful of what might transpire. And therein lies the problem with this film – it’s just not believable. If this picture were made (or set) 40 years ago, when social acceptance of alternative lifestyles was more problematic, then it would probably come across as more plausible. But, given current conditions, it’s simply not convincing. If Lucy were to live in an isolated conservative small town, it might be more conceivable, but she lives in Los Angeles, for goodness sake, where alternative sexuality is virtually a prerequisite for residency. Lucy’s exaggerated whining about her reluctance to move forward grows tiresome, too, and it’s easy to see why Jane loses patience with her. That’s a problem compounded by Johnson’s underwhelming performance, which is annoying and anything but persuasive. The script’s humor is fairly thin, too, save for the laughs generated in cameo appearances by LGBTQ+ icons like Sean Hayes and Nataro, who delivers a positively hilarious performance as a deadpan New Age retreat facilitator. But the film genuinely could use more of these edgy narrative elements (along with greater overall believability) to succeed as a viable release. In fact, given Nataro’s reputation as a source of outrageously sidesplitting comedy, this project is surprisingly tame and inherently more conventional than what one would expect out of someone so innately talented. The picture’s aptly timed streaming release for Pride Month isn’t at all unexpected, but it’s genuinely unfortunate that this just isn’t a very good movie. Gay cinema has come a long way in recent decades, but this offering feels like an anachronistic throwback to the early days of the genre. We’ve seen stories much like this before, but the LGBTQ+ community deserves something more inventive – and better overall – at this point.