written & directed by eric pennycoff
midnight treehouse/feast & bourbon films/alexander groupe/79th & Broadway entertainment
Plot twists, or maybe thematic twists, are pretty much this film’s modus operandi, and for the most part, they’re not all that predictable – and even the ones that are receive a little tweak. At about three-quarters of the way through this fable, I thought that what may have been intended to be some sort of dark comedy was about to veer into a disturbing realm that few films ever broach. Such a move would have been disheartening, nay, dispiriting, and it was with a palpable sense of dread that I waited to see if the director had chosen that path. Nope. He didn’t entirely cop out, either, however, so that was refreshing. But – this could have become a really remarkable examination of how things can spiral out of control and seemingly ordinary people can become trapped by circumstances and wind up making absolutely terrible, life-shattering decisions. In one sense, it still is, only the profound lack of empathy at its core finishes much differently. The actual ending is disconcertingly funny in its own special way.
Well, the trailer was intriguing, though I wavered for quite a while because I had envisioned something more ironic and postmodern.
A guy invites over his bandmate and a prospective drug buyer; they don’t know each other. And where is he, anyway?
highlight and low point
Right, there’s only three people in this picture, and two of them are tremendous. The third, however, basically channels Crispin Glover, which is fairly distracting. This T-shirt, however, was jaw-dropping:
I haven’t been so envious in a long time. Oh, yeah – this movie involves death metal, mostly as a framing device.