Alcoholism is a serious subject, one that’s provided the basis for many fine films over the years. It’s truly no laughing matter – or, at least, it shouldn’t be. Unfortunately, however, that inescapable conclusion can’t be avoided when it comes to the latest offering from writer-director Mann Robinson, an inadvertently laughable release with some of the worst writing and acting I have ever seen in a movie not only from this genre, but also from the field of cinema in general. The film tells the story of Janie Salisbury (Jasmine Burke), an Atlanta nurse who is a three years’ sober recovering alcoholic. She’s a woman with big dreams and ambitions for herself and presents herself as an empowered, self-assured professional determined to achieve her aspirations despite the many obstacles she faces – a review panel appeal regarding an on-the-job accident, financial difficulties, a ne’er-do-well younger brother (Ki-Jana Garmon) who expects her to continually bail him out of trouble with a local drug dealer (Marc Shyst), and a wise, kindly but ill mother (Cocoa Brown). However, despite her upbeat, resolute outlook, she’s heavily bought in to the idea that all she needs is “the right man” to come along in her life to take her away from her troubles (so much for inspired, self-confident feminism). She’s also continually concerned about relapsing, a genuine consideration for many in recovery, though, given her prevailing perspective on life, she seems like one of the least likely candidates to succumb to this possibility. Nevertheless, in voiceovers by the protagonist, she painstakingly (and quite effectively, I might add) details the triggers that many alcoholics surrender to that can cause them to fall off the wagon, most of which she proceeds to fall prey to. This is particularly true once she meets “that supposedly right man” (Christopher Deon), a quietly controlling real estate mogul who is himself a disavowed alcoholic and still secretly in love with his ex (Drea Kelly), a romantic interest with whom he still works. While the narrative here may seem relatively sound, regrettably, its execution leaves much to be desired. The picture is loaded with stereotypes, clichés, and, curiously, improbable plot devices, punctuated with trite dialogue and positively abysmal performances (especially Burke), the kind that viewers can’t help but laugh at despite the inherent seriousness of the material. While the film does a commendable job at outlining the aforementioned trigger points, that’s about all this truly sorry excuse for a movie has going for it. Nothing can save it from itself, even a few mildly intriguing plot twists thrown in during the final act. In short, “Georgia Peach” does little justice to its subject matter or to the African-American community it seeks to portray. It falls far short of the mark it’s trying to achieve, not only for the story it’s attempting to tell, but also as a viable work of cinema.