Tag Archives: 2017

CAPSULE: SYLVIO (2017)

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Sylvio is currently available for VOD rental or purchase.

DIRECTED BY: , Albert Birney

FEATURING: Sylvio Bernardi, Kentucker Audley

PLOT: A gorilla who works for a debt collection agency accidentally stumbles on to a small-town television broadcast, but his shot at fame comes with conditions.

COMMENTS: “Feel good” movies are almost always a dispiriting experience for the weird viewer. Saccharine story lines, all-too-earnest performances, and finales which crash over the viewer on a tide of sweepy-weepy strings. Similarly, hipster comedies with the “quirk” set to eleven exasperate. By subverting these expectations, Sylvio, by and large, succeeds. While the film’s story is a bit by the books (and, admittedly, a touch saccharine), it has an easy charm that carries the story through all the notes required for a “feel good” hipster movie without eliciting eye-rolls from even your jaundiced reviewer, who has endured a panoply low-to-no-budget oddball meanderings.

Kentucker Audley and Albert Birney have made a quiet film about a quiet gorilla—one who reluctantly works at a debt collection agency. Sylvio Bernardi (who plays himself) is a mellow man-beast. He likes soft synth music, has a pet goldfish, and spends his free hours making episodes of “Quiet Times with Herbert Herpels,” a silent puppet vignette series devised, it seems, for an audience of one. Utterly unruthless, he is an awkward fit at his job. But what turns out to be his final collection assignment gives him a chance to live his small dream of telling his stories. Unfortunately, he gains his fame by breaking things on set (accidentally, mind you), and has to work out just what kind of local fame he wants to attain.

Sylvio is a buddy comedy, chronicling the relationship between Sylvio and the local television host, Al Reynolds—a similarly soft-spoken fellow who, as his lack of sponsorship indicates, probably wasn’t made for this time and place. The hook, of course, is that Sylvio is a gorilla: a gorilla whose demeanor flies in the face of his species’ fearsome reputation. Whoever Bernardi is, he plays it straight—without which the whole project would collapse. Everyone else plays it straight, as well. The whole exercise is an examination of TV excitement, à la Bart Simpson’s “I Didn’t Do It” brush with fame on The Simpsons.

It’s a simple story, with enough laughs along the way to justify itself. What tips my view firmly on the favorable side is the quality of the craftsmanship. Sylvio’s own excess efforts are put into the “Quiet Times” experience (these interludes heighten the weird quotient, particularly the dream sequence during which Sylvio meets a real-life Herbert Herpels as a mute spirit guide). Audley and Birney not only make this quiet drollery with commendable competence, but also display a keen eye for framing. In one dramatic scene, the focal points of Herbert resting on the hood of a car, the form of Sylvio digging a grave for his puppet, and a shining moon in the upper right corner of the frame make for an observational experience worthy of any top tier production: Sylvio is on the cusp abandoning his dream, but stops himself. I suspect that Sylvio‘s filmmakers faced countless moments of doubt themselves. But thankfully they stopped themselves from burying this curiosity, and so their own quiet story can be seen by anyone seeking an eccentric, easy-going, and, yes, feel good experience.

Sylvio failed to find a home on video after its release, but the indie success of Strawberry Mansion reignited interest in Birney and Audley’s first feature. It’s now on VOD and will be released on Blu-ray January 31 by Music Box Films.

WHAT THE CRITICS SAY:

“Curios don’t get much more curious than ‘Sylvio,’ which has the distinction of being both the weirdest, and most affecting, feature ever made starring a man in a monkey suit — or, to be more precise, a man in a monkey suit wearing a monkey suit… It won’t attract more than a niche audience, but a cult following for this bizarro effort seems quite possible.”–Nick Schager, Variety (contemporaneous)

CAPSULE: GUTBOY: A BADTIME STORY (2017)

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Weirdest!

DIRECTED BY: Nick Grant

FEATURING: David Homyk, MaryBeth Schroeder, voices of Will Cooper, Nick Reed, Misty Foster, Megan Rosen, Anthony Herrera

PLOT: Goot is tricked into selling his skin to Besto, and seeks revenge with the help of a similarly skinless “mermaid.”

Still from Gutboy: a Badtime Story (2017)

COMMENTS: Gutboy is a strange little creature, and the star of a strange little movie that occupies an odd niche on this site’s recommendation spectrum. The movie is slight and casual and doesn’t feel weighty or significant enough to challenge for a spot on our list of the weirdest films ever; and yet, it’s so darn weird that nearly every serious reader of this site will find something to enjoy in it. The “” tag affixed here is, therefore, an attempt to bring attention to this worthy amateur effort, while acknowledging that it doesn’t fit alongside some of the more serious or professional titles honored here.

Not that the movie doesn’t actually earn that “weirdest!” designation. (In fact, some argue that it works too hard for it.) Framed as a story told by an emcee to a sick boy who’s wheeled out before an audience of insects, the plot involves a fisherman tricked into selling his skin, who then immediately hooks a “mermaid” (a similarly skinless woman given to lines like “you learn a lot of things on the ocean floor… like how to please a man”) who tires to seduce him, and also grants him a wish. Gutboy doesn’t think to ask for his skin back, but instead asks to marry the policeman’s daughter. And the story just keeps getting odder when skin-merchant Besto breaks out his giants (portrayed by a well-toned couple of real live humans spray-painted gold) to wrestle for his amusement. Oh yes, and there are also musical numbers, ranging from show tunes to rockabilly and lo-fi punk and pop.

So yeah, it’s pretty strange. The marionettes are appropriately crude and grotesque: Gutboy and his paramour (who, after a brain-swapping mishap, becomes known as “Sophieguts Prettybutts”) look genuinely bloody, and for some reason have exposed brains. The other puppets are all quite ugly, too, bulbous and vaguely resembling antique Eastern European dolls, with sunken wooden eyes covered in black mold. The puppeteering is not particularly accomplished, but it doesn’t matter, given the project’s insouciant attitude. Any movie in which a wooden hooker on strings sings the line “porking me ain’t easy, and diddling me ain’t fun” isn’t aiming for much beyond cheap amusement.

The kitchen sink approach often turns a would-be weird movie into a unwatchable mess, but here it works to Gutboy‘s advantage, with each new quirk catching your attention, but not completely derailing the loose worldbuilding efforts. The movie is also helped immensely by its economical runtime: take out the four-minute introduction and the ten-minute post-credits “Titus Andronicus”-themed bonus short, and it runs just under an hour. Any longer, and it might have started to try your patience.

It might not surprise you to learn that Gutboy was a crowdfunded project. It played well enough in limited screenings that picked it up for distribution. It can now be seen free on Amazon Prime for subscribers.

WHAT THE CRITICS SAY:

“…a triplike piece of weirdness that defies all sorts of logic – and that’s exactly why it works so well…”–Mike Haberfelner, (re) Search My Trash