Funny Ha Ha’s charm sneaks up on you in the same flatfooted, backhanded way as its characters do. Grainy, not even prettily unpretty, and superficially inarticulate, it draws less directly on Cassavetes’ cinema verité than on early John Sayles films like Return of the Secaucus 7 (the 1980 inspiration for better-known, worse-for-wear The Big Chill). […]