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The hitch is there is only one remaining lab in the world called Dwayne’s Photo in Parsons, Kansas (a real place) that processes Kodachrome film stock and it will close its doors forever in a matter of days, and Ben wants his son to drive him there. Ben (Ed Harris) is a world-famous photographer with a box of old, undeveloped film he wants to display in one last art gallery exhibition before he dies.

Understandably depressed, he’s wondering what to do next when a pretty girl named Zooey (Elizabeth Olsen) informs him his father Ben is dying of liver cancer with less than three months to live. Cynical after an acrimonious divorce and dumped by his latest Top Ten pop discovery, record producer Matt (Jason Sudeikis) is out of luck and employment. It is also a road trip, a love story, and a domestic drama about failed communications between generations divided by grief and misunderstanding. The tragedy of saying goodbye to all that is what Kodachrome is about. movies you can see on a screen bigger than a postage stamp, books you can read sitting down, and the beautiful music of long-playing vinyl records. Real photographs you used to keep forever in silver frames have gone the way of land lines that allow you to hear the voice on the other end with clarity, 35-mm. You end up with pieces of paper you erase upon digital delivery.

You see all of these victims of cell-phone addiction running around taking pictures of dogs, parking meters and each other without any place to develop them. It’s actually a lament for another lost American value replaced by digital second-rateness, this time the cherished Kodachrome color film process by which photography used to look 100 times better than it does now. Well-considered and sincerely acted, Kodachrome is a character-driven drama that has been wrongly labeled a comedy by some so-called critics. Ed Harris and Jason Sudeikis in Kodachrome.