Reviews

Johan Liedren's film presents itself within the frame work of a horror film. An unnamed father attempts to secure some alone time with his son. The plan is camping, but surrounding factors soon alter the father's plans.

"Mother Nature" is a surrealistic journey that pushes a man to the very core of identity. That core is surprising and primordial. Often surreal and always visceral-- this film offers more than a few unexpected turns.

Trevor Fife's cinematography and Ben Lukas Boysen's musical score are utilized to craft an intense film experience. Phillip Roebuck's performance as "Father" is brilliant. Nothing about this film signals low budget. It is an unforgettable cinematic work.

It is not always a negative when film causes discomfort or leaves the viewer troubled after seeing it. The challenge for me is that I needed a bit of distance and then a "revisit" to this movie to articulate my opinion.

The Zellner Brothers have created a film that is a bit closer to "truth" than The Coen Brothers' "Fargo" back in 1996. The Coen Bros' cleverly elevated the cultural satire of "Fargo" to lead us to believe it had all been based on fact. There was no real Internet for us to access to determine if there was any "reality" in the story of "Fargo" at that time. We now know that there was actually nothing "true" about "Fargo" except the disquieting "truth" that it most certainly could have happened.

David and Nathan Zellner's film is an abstractly loose variation on an actual incident involving a Japanese woman who died in the unforgiving climate of Fargo's winter. The real "truth" was she was there to revisit memories of a past love. But due to misunderstanding her English prior to her death, a false rumor began to form into a "truth" that she had traveled to Fargo to find what she "believed" to be the stolen money buried in The Coen Brothers' 1996 film. "Kumiko Treasure Hunter" plays with the the idea that has remained firmly grounded in the realms of urban myths generated by "Fargo" the movie.

Rinko Kikuchi gives a painfully realistic performance of a woman so depressed and detached from her own world in Tokyo -- her only "friend" is her pet rabbit, she is seems unable or unwilling to "connect" within anyone other than her pet. Wisely, it is never explained why or how Kumiko manages to "unearth" a battered VHS tape of "Fargo" But it is clear she mistakes that iconic film's opening statement, "This is a true story" for "fact" and assumes she is seeing some sort of documentary. Her inability to apply logic to her situation and desires leads her to abandon everything, including her beloved pet rabbit, to find her way to Minnesota in pursuit of what she now perceives to be her life's mission. She is hellbent on finding that case of money she saw Steve Buscemi burries in the snow.

David Zellner's film is even more quirky than Coen's "Fargo." But this quirkiness is established in the ways we see a clearly unstable woman interacting with her Japanese peers, boss, family and the local Americans as she refuses to relent in her pursuit. It is a fascinating journey to follow. Mixing realistically comic encounters with the increasing uneasy tone is achieved by a balance of acting fused with effective musical score / camera work. The movie is constantly challenging the viewer to know if it is "ok" to chuckle/laugh or if this reaction is inappropriate.

Rinko Kikuchi never drifts away from what is clearly a tragically lost character in dire need of help. This entire cinematic experience is both fascinating and devastating in equal measures. Kumiko The Treasure Hunter is one for whom we cheer. And she is also a tragic parable of humanity pursuing dreams that are impossible to achieve.

This masterful film weaves its way into our minds and hearts. One should not miss the opportunity to see this movie. It carries a disarming level of power.

Brando Colvin's "Frames" is excellent example of Formalist Style from beginning to end. It is amazing to me that he can achieve this on a low budget.

The concern here is on how "reality" is "perceived" within the context of what is captured in a frame of film. This idea is communicated not only in the reality of the leading character's view of his world, but in the view that Colvin provides to the audience.

The film's actors prove to be quite effective in adapting their performances to fit within the context of style. Their performances are almost avant-garde as "truth" is communicated in specifically nuanced and almost emotionless ways.

The film continually references Hitchcock's "Rear Window" in interesting ways that serves as connection to limited information leading to what a character perceives to be "truth" --- Though the stylistic manner of the film is really much more tied to Robert Bresson and some of Michael Haneke's earlier work. I can also sense some inspiration coming via the way of Michelangelo Antonioni's work (particularly "Blow Up" and "La Notte"

Once the viewer adjusts their own frame of reference, Colvin's film takes hold and results in a surprisingly intense little thriller.

The plot is deceptively simple: A college professor takes a sabbatical to return to his childhood home less to focus on a new book and far more to provide assistance to his fragile mother. When he returns he must determine how to "re-connect" not only to his family, former lover and friends but to the very core of his identity.

The important cinematic elements here have little to do with the actual "story" but far more within the way Colvin "tells" it. This challenging aspect of the film is what makes it so important. Not to deny the emotional power the film carries, but this an intense study framed within Formalist Film Theory.

Colvin makes masterful use of Aaron Granat's cinematography, set design, colors, pacing and literal perspective to communicate the complexities of universal human challenges. Despite a shoestring budget, he has made an extraordinary and masterful work. His cast understand this rigid framework in which they are required to deliver Avant-Garde minimal approach to acting.

Robert Longstreet is one of the most under-valued actors working in film. He is able to convey more with the most casual physicality than most movie stars in "realist" styles. But it is Rhoda Griffis who is given the most challenging role as Ben's former lover. When she reads some of our protagonist's writing it is clear that she sees through his Kierkegaard/Nietzschean posing.

Cinephiles and philosophy lovers will savor "Sabbatical" from beginning to end. And, while this is a clearly cinematically referential film -- tapping into every one from Bresson and Bergman to the more obscure stylings of Jost and Hollis Frampton. But Colvin is not mimicking, stealing or even borrowing. These references are used as jumping points to create a film hat is completely unique.

As the film reaches conclusion, the potency of what has been artistically presented comes to the audience like breath of new air. A few hours later, I realized that Colvin had managed to do more the deliver a potent movie -- he had gut-punched me so quickly that I didn't actually feel the pain until a few hours later. "Sabbatical" is a film so clever and intelligent it demands attention.

For those of us who loved Michael Tully's directorial debut, SEPTIEN, it was rather surprising to discover that he had a dream. That dream is PING PONG SUMMER -- a movie so far removed from his directorial debut it is almost impossible to imagine that both were made by the same artist!

There have been a number of movies that have attempted to recreate the 80's in just as many ways. Because this film is written/directed by Michael Tully you might expect that he would create something similar to David Wain's WET HOT American SUMMER … only more twisted. But that is not his intent. But this is no parody. This is not cynical.This is not even an ode to 1980's movies.

PING PONG SUMMER is simply a nostalgic memory of a very specific moment not only in American culture -- but in the life of a 13 year old boy. And guess what, it's not about a boy trying to get laid or having to survive through a traumatic childhood. This is a movie about a slightly awkward kid trying to find a way to assert his identity.

During a family summer vacation, an awkward 13 year old tries to find a way to assert his identity. The only problem is that he is just a bit too young and innocent to understand what that means, Rad ends up having a nice summer. We follow Rad through the summer. Things do happen, but never in an even slightly unbelievable way.

The magic of the movie lies in it's simplicity. We often only see the world through the eyes of a normal kid. And we quite literally re-experience 1985 from his perspective. Hip Hop was just about to break mainstream, Boom-boxes ruled, the Arcade was THE place to be and it was crucial to master the art of achieving the perfect mix for your Icey! Oh, and do remember the obscene amount and choice of food at buffet restaurant?!?!

There is actually a great deal of humor here.,but don't expect generic slapstick or crass humor. The films humor most often sneaks in just below the radar. The funniest moments are are in the way the characters react to the situations and/or comments made by others. Even when Amy Sedaris and Robert Longstreet are introduced as the "looney" aunt and uncle — the humor is not directly aimed at their inappropriate behavior. The funny aspect of this short extended family visit is in the way Rad's family creatively navigates the situation. They are family, after all.

It would be hard for anyone who was between the ages of 12 to 19 in the year of 1985 not enjoy this movie. There was something bittersweet about the movie. It often feels like a memory.