Your Sister’s Sister Or, my sisters (bed) keeper  Take three superb leads, throw them into the stark outdoors, give them hidden incentives, and shoot in the modest space of 12 days. Now you pretty much know what to predict from Your Sisters Sister, the follow-up from Lynn Shelton’s Humpday (wherein she was on both directorial and writing duties), an unexpectedly sincere film about two heterosexual friends that, on paper at least, should have been crass, crude and could easily have gotten Daily Mail honchos in an uptight hissy fit. So it is a great relief (for both Shelton and those Daily Mail aficionados) that her latest release is resonant of an offset, a fiendishly simple set-up that’s at once frank, heartfelt and a masterwork of its kind. And… (Shocker!) It’s a lot more reverent than a cookie cutter Hollywood form of the same category.  The set-up shares sharp similarities with Carnage, a voyeuristic glimpse at bourgeoisie life, an uncomfortable watch that felt like one was insensitively peeking into the lives of others. Your Sisters Sister is akin to this, but minus the projectile vomit. The foundations are there though. For one thing, the wiry, largely improvised dialogue takes place in the confines of one room, the allegedly idyllic shack that we see our protagonist enter. After the death of his brother shakes up things, Jack (a hysterical Mark Duplass) is given instructions by Iris (Emma Blunt, adorable) to head to her fathers island getaway, to think things over and, you know, get some alone time. So far, so fair. Only, instead of being the tranquil respite one might expect, there’s no television, a madwoman brandishing an ore, and most bizarrely, an absence of forks.  There’s a Woody Allen-y sense of place established, an island pouring with shots of rural panorama, and a dash of love for the atmosphere. When Rosemarie DeWitt’s pro-vegan, girl-loving sister Hannah steps into the equation in a drunken night of tequila and blink-and-you’ll-miss-it unromantic, lovemaking, unease ensues. DeWitt’s remarkable turn might just kick start a more prolific set of acting gigs in something other than secondary roles, an imperfect character in a film not short of them. Iris for one covets Jack, so shortly after dating his late brother. She knows not that Jack has slept with her sister. Hannah craves a baby daddy and, one call of foul play later; the film erupts in a fit of problematic scenarios, cagey confrontations, and over all serpentine story arcs, love and laughs. A spiteful dinner skirmish comes chiefly to mind, an embarrassing “bush story” only topped by vegan sabotage. It’s a weak stress point that’s picked at persistently, mirroring a big reveal to follow.  The third-wheeler, if you will, is Mark Duplass Jack, caught between two sisters, an indeterminate man-child who willingly shares the butt of the jokes. He’s easily the utmost character to root for. There’s a chance that, if you’re not already an indie stalwart, this film won’t change that. The final sequence is laughably abrupt, more a frustrating cop-out than a playful feat of ambiguity.  It’s hardly Freudian, and its one of the more puzzling titles of the year (Blunt can sure pick them with the awful-sounding Salmon Fishing in the Yemen), but you’ve got to appreciate Shelton’s determination to stick to 90 minutes of film. Moreover, it’s still a rare gem that, regrettably, little will see. For those who do though, indie hobbyists in particular, Shelton has sculpted a model of beauty from an otherwise melancholy landscape, that’s beauty extends to its top-notch cast. One part light-hearted amusement, the other an unnerving but honest vision into the skeleton of relationships, its also gamely played by a superlative trio of acting talent. Oh, and a clash with a man and his cherry red bike is nothing short of magnificent. Whilst it ensured an award at Sundance, it’s better play will be attaining the heart of its viewers. In indie terms that is the mother load sister load. ★★★★
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Your Sister’s Sister

Or, my sisters (bed) keeper

 Take three superb leads, throw them into the stark outdoors, give them hidden incentives, and shoot in the modest space of 12 days. Now you pretty much know what to predict from Your Sisters Sister, the follow-up from Lynn Shelton’s Humpday (wherein she was on both directorial and writing duties), an unexpectedly sincere film about two heterosexual friends that, on paper at least, should have been crass, crude and could easily have gotten Daily Mail honchos in an uptight hissy fit. So it is a great relief (for both Shelton and those Daily Mail aficionados) that her latest release is resonant of an offset, a fiendishly simple set-up that’s at once frank, heartfelt and a masterwork of its kind. And… (Shocker!) It’s a lot more reverent than a cookie cutter Hollywood form of the same category.

 The set-up shares sharp similarities with Carnage, a voyeuristic glimpse at bourgeoisie life, an uncomfortable watch that felt like one was insensitively peeking into the lives of others. Your Sisters Sister is akin to this, but minus the projectile vomit. The foundations are there though. For one thing, the wiry, largely improvised dialogue takes place in the confines of one room, the allegedly idyllic shack that we see our protagonist enter. After the death of his brother shakes up things, Jack (a hysterical Mark Duplass) is given instructions by Iris (Emma Blunt, adorable) to head to her fathers island getaway, to think things over and, you know, get some alone time. So far, so fair. Only, instead of being the tranquil respite one might expect, there’s no television, a madwoman brandishing an ore, and most bizarrely, an absence of forks.

 There’s a Woody Allen-y sense of place established, an island pouring with shots of rural panorama, and a dash of love for the atmosphere. When Rosemarie DeWitt’s pro-vegan, girl-loving sister Hannah steps into the equation in a drunken night of tequila and blink-and-you’ll-miss-it unromantic, lovemaking, unease ensues. DeWitt’s remarkable turn might just kick start a more prolific set of acting gigs in something other than secondary roles, an imperfect character in a film not short of them. Iris for one covets Jack, so shortly after dating his late brother. She knows not that Jack has slept with her sister. Hannah craves a baby daddy and, one call of foul play later; the film erupts in a fit of problematic scenarios, cagey confrontations, and over all serpentine story arcs, love and laughs. A spiteful dinner skirmish comes chiefly to mind, an embarrassing “bush story” only topped by vegan sabotage. It’s a weak stress point that’s picked at persistently, mirroring a big reveal to follow.

 The third-wheeler, if you will, is Mark Duplass Jack, caught between two sisters, an indeterminate man-child who willingly shares the butt of the jokes. He’s easily the utmost character to root for. There’s a chance that, if you’re not already an indie stalwart, this film won’t change that. The final sequence is laughably abrupt, more a frustrating cop-out than a playful feat of ambiguity.  It’s hardly Freudian, and its one of the more puzzling titles of the year (Blunt can sure pick them with the awful-sounding Salmon Fishing in the Yemen), but you’ve got to appreciate Shelton’s determination to stick to 90 minutes of film. Moreover, it’s still a rare gem that, regrettably, little will see. For those who do though, indie hobbyists in particular, Shelton has sculpted a model of beauty from an otherwise melancholy landscape, that’s beauty extends to its top-notch cast.

One part light-hearted amusement, the other an unnerving but honest vision into the skeleton of relationships, its also gamely played by a superlative trio of acting talent. Oh, and a clash with a man and his cherry red bike is nothing short of magnificent. Whilst it ensured an award at Sundance, it’s better play will be attaining the heart of its viewers. In indie terms that is the mother load sister load.

★★★★

Safety Not Guaranteed The Time Travelers life It’s too easy to blast the out-of-date Hollywood movie, what with their over emphasis on massive budgets at the expense of meaningful plot and decent character development. To say that Safety Not Guaranteed was shot with very little is an understatement (a relatively short £500,000), but alas, there’s no need to feel sorry for director Colin Trevorrow. Although not responsible for anything beyond shorts and TV movies, for what its worth he’s assembled a cast that any studio would envy and a dream script to boot- and critically, its infallibly funny and endearing. A literary adap of sorts (if one can indeed bid it that), it’s based on a classified ad requesting a suitable partner for time travel -bizarrely, one that can ‘bring their own weapons’- but isn’t exactly verbatim- it considers the life of this unusual character, with nothing but the ad for a basis. Kenneth (Mark Duplass) is the subject for discussion in a magazine assignment headed by Jeff (Jake M. Johnson), with the assistance of his über-enthusiastic interns, the Michael Cera esque Arnau (Karan Soni) and Darius Britt (Or, as several will know her, April from Parks and Recreation). The latter, whom ‘works her ass off’ at her unpaid job, develops more than a hidden attentiveness for the assignment, seeing time-travel believing Kenneth, as more than the class A ‘nut-job’ he appears to be. It’s hard not to be struck by the quirky nature of the film, and Treverrow gets the casting spot on. He gets the indie seal of approval for getting not one but two Duplass’ on board, and Duplass lives and breathes the oddball role very convincingly. A layer of remorse is granted to Kenneth, a marvel when contemplating his uncertain aims and uncanny time-travel proximities.  Though, it is Plaza who emerges the standout- the doughy-eyed actress is uniquely hilarious- a specific scene sees her act ‘coy’ for the sake of the task, and the depressive opening is inspired. Her wry take on the role would suggest an actress beyond her years and, with such a striking presence, another lead role is surely imminent. To make these characters sizzle and excel, there’s some genuinely attractive camera work of rural seattle, and a definite candidate for wittiest car-chase of the year. Guaranteed’s final act is profoundly touching, sweet and by equal parts very ambiguous, it’s a wonder the value of the special effects are not lost on the meek budget. Some might deem the Johnson’s tactless approach a touch too risqué (his mistreatment of women is not so much as addressed or resolved) and it begs the question- doesn’t this figure belong in a similarly coarse Apatow production? Apart from the more crude lines that accordingly make you wince, Derek Connolly’s screenplay is, for the most part, blameless. If the mainstream appeal of Battleship doesn’t fit your fancy, there’s a chance this indie comedy that veers off into sci-fi is for you. Thoughtful, charming and eccentric, and helmed by superlative performances by Plaza and Duplass, Trevorrow has woven a promising first foray into film as ambitious as it is ambiguous. Want some advice? Treasure it. Flicks like these are infrequently (if ever) guaranteed. ★★★★
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Safety Not Guaranteed

The Time Travelers life

It’s too easy to blast the out-of-date Hollywood movie, what with their over emphasis on massive budgets at the expense of meaningful plot and decent character development. To say that Safety Not Guaranteed was shot with very little is an understatement (a relatively short £500,000), but alas, there’s no need to feel sorry for director Colin Trevorrow. Although not responsible for anything beyond shorts and TV movies, for what its worth he’s assembled a cast that any studio would envy and a dream script to boot- and critically, its infallibly funny and endearing.

A literary adap of sorts (if one can indeed bid it that), it’s based on a classified ad requesting a suitable partner for time travel -bizarrely, one that can ‘bring their own weapons’- but isn’t exactly verbatim- it considers the life of this unusual character, with nothing but the ad for a basis. Kenneth (Mark Duplass) is the subject for discussion in a magazine assignment headed by Jeff (Jake M. Johnson), with the assistance of his über-enthusiastic interns, the Michael Cera esque Arnau (Karan Soni) and Darius Britt (Or, as several will know her, April from Parks and Recreation). The latter, whom ‘works her ass off’ at her unpaid job, develops more than a hidden attentiveness for the assignment, seeing time-travel believing Kenneth, as more than the class A ‘nut-job’ he appears to be.

It’s hard not to be struck by the quirky nature of the film, and Treverrow gets the casting spot on. He gets the indie seal of approval for getting not one but two Duplass’ on board, and Duplass lives and breathes the oddball role very convincingly. A layer of remorse is granted to Kenneth, a marvel when contemplating his uncertain aims and uncanny time-travel proximities.  Though, it is Plaza who emerges the standout- the doughy-eyed actress is uniquely hilarious- a specific scene sees her act ‘coy’ for the sake of the task, and the depressive opening is inspired. Her wry take on the role would suggest an actress beyond her years and, with such a striking presence, another lead role is surely imminent.

To make these characters sizzle and excel, there’s some genuinely attractive camera work of rural seattle, and a definite candidate for wittiest car-chase of the year. Guaranteed’s final act is profoundly touching, sweet and by equal parts very ambiguous, it’s a wonder the value of the special effects are not lost on the meek budget.

Some might deem the Johnson’s tactless approach a touch too risqué (his mistreatment of women is not so much as addressed or resolved) and it begs the question- doesn’t this figure belong in a similarly coarse Apatow production? Apart from the more crude lines that accordingly make you wince, Derek Connolly’s screenplay is, for the most part, blameless. If the mainstream appeal of Battleship doesn’t fit your fancy, there’s a chance this indie comedy that veers off into sci-fi is for you.

Thoughtful, charming and eccentric, and helmed by superlative performances by Plaza and Duplass, Trevorrow has woven a promising first foray into film as ambitious as it is ambiguous. Want some advice? Treasure it. Flicks like these are infrequently (if ever) guaranteed.

★★★★