Little Sister

Guess it's about time I stopped getting surprised by how well-made and enjoyable these smaller- scale, lower budget productions are now. Hollywood's lowest point in time is turning out to be a great opportunity for independent cinema to thrive -- one that seems to have been grasped tightly by the artists eager to deposit their talent, a graceful offering at the viewer's feet.

Very good movie. Subtle. Touching on religion, multiformity, politics, war, originality, depression, esoteric balance. Clever, funny writing, effortless dialogue, casual performances (as per the plot's dictation).

Go in fearless, you will enjoy this one -- and a special shoutout to Ally Sheedy's The Breakfast Club persona, Allison Reynolds, who obviously grew up into a true-to-character-progression Joani Lunsford. Very effective casting and a delight to watch.

Young nun Colleen (Addison Timlin) is avoiding all contact from her family. Returning to her childhood home in Asheville, North Carolina, she finds her old room exactly how she left it: painted black and covered in metal posters.

Being raised in a Roman Catholic community, I was immediately drawn to the subject matter and the plot does spark some questions. Perhaps this is only regional (I don't think so), but there seems to be a decline in nuns, particularly new ones. They are seen in the community less often, and convents have closed down. So to have a lead character that is actively pursuing such a vocation is striking, as she is going against the flow of society at large.

Let's talk about the lead character, and the talent who plays her, Addison Timlin. The actress had her film debut in the gritty "Derailed" (2005), and has more recently starred in "Odd Thomas" (2013) and "The Town That Dreaded Sundown" (2014). No doubt she has been turning heads, and with "Little Sister" she will be turning many more. The character of Colleen is complex and versatile, and Timlin captures the core of who Colleen is with aplomb.

Although there are many themes that could be examined with regard to Colleen (not the least of which is her familial interactions), what struck me was the idea of growth and change. Colleen is an example of how our teen years are not necessarily an indication of adulthood. Someone in the "goth" scene listening to records about dead babies and Satan is just about the last person you would expect to join the Church, but it certainly is not impossible. We all know high school "losers" who went on to great things, and popular kids who flushed their life away.

Colleen's odd bloody baby dance (possibly the highlight of the film) complements the "growth" theme, and shows there are parts of ourselves that we can never let go of. Despite moving on, Colleen is clearly still comfortable in her goth skin. One might ask: is goth culture consistent with being a good Christian? Can someone be a nun and sing about bloody babies? The answer is yes. Just as horror fans – who surround themselves with fictitious murder stories -- are some of the kindest people on earth. As strange as it may sound, there is no contradiction between telling dead baby jokes and simultaneously upholding the value of life.

Supporting Timlin is Barbara Crampton in one of her best roles, far more serious than her early horror work under the legendary Stuart Gordon and with far more depth than her soap opera stints. Crampton's role is smaller but memorable, and her legion of fans will be sure to savor every minute. Also supporting Timlin is Ally Sheedy, who has always been a treat from her 1980s John Hughes era up through her appearances on "Psych". In "Little Sister", Sheedy is not the most lovable (she might even be seen as a villain), but it's never a bad idea to cast her when you can.

Interestingly, I felt the film has a 1980s sensibility, despite the occasional overt politics and the use of certain technologies like webcams (though cell phones seem to be rare in North Carolina). And I use the 1980s reference as the highest compliment. Being set in 2008, there is a sense of the film being anti-Bush, including a 9/11 performance art piece, and I could have done with less of the politics. The only reason to be set in 2008, so far as I can tell, is to have a reason behind the fate of Colleen's brother with the war in Iraq still going strong. But that wouldn't have been an exclusively 2008 thing.

And speaking of Colleen's brother, a special note of congratulations must go to Brian Spears. I've admired Spears for a long time now through his makeup work with Larry Fessenden, Jim Mickle, Ti West and others in the "Mulberry Street Gang". He goes all out in "Little Sister", making what could be one of the most convincing burned man prosthetics ever put to film.

Written by Melodie Sisk and Zach Clark, directed by Clark, and produced by Clark, Sisk, and Joe Swanberg, "Little Sister" is a film that defies genres. It is never quite funny enough to be an outright comedy, and it seems insulting to lump it under the catch-all of "drama". All I know is that it is a fun and empowering film, and should be watched and enjoyed by any fan of the fantastic film genres. The film has its premiere at Fantasia International Film Festival on July 28, 2016.

Roger Ebert had a great line describing the feel of this movie. After quoting a piece of wacky dialogue (talking about lesbian Satanism), Ebert said: "It's a powerful indication of just how well Little Sister works that the above exchange does not come off as 'quirky,' or 'kooky,' or a 'black comedy' ba-dumb-ching punchline."

That's what I mean in the title of this review. Although you'd think the story is poised to be a thick satire, it's not. And that's what makes it unique and effective. I mean with a plot about an ex-goth girl becoming a nun whilst reconnecting with her brother who came back from the war in Iraq and her stoner parents in a small town in North Carolina, you'd think this could be every bit as cheeky as Edward Scissorhands without the scissors. But instead, director Zach Clark chose to play it straight.

The result is a film that might not be as laugh-out-loud funny or bizarre as it could be, but in its place we get a serious message that we can apply to our lives. I won't tell you what that message is, but if you watch the movie then pay attention to Ally Sheedy's (the mom) monologue near the end which ties everything together and drives the point home.

Gosh well I just made this movie sound as dry as a nun's gusset. But no, it's actually interesting and had a few moments of classic humor. One such moment happens when the girl, all gothed up, and her brother, disfigured from the war, are walking in the woods when they come up on a young kid who stares at them and asks "are you monsters?" Awkward silence is followed by the brother shrugging and saying matter-of-factly, "yeah."

It's this sort of subtle humor with serious meaning that carries the film all the way through. So, as Roger Ebert said, don't expect a lot of zingers because this movie is pretty subtle.

Something worth mentioning is the odd soundtrack composed of a lot of drum solos and 80s alt-metal/punk bands like GWAR ("Have You Seen Me"), Christian Death ("Romeo's Distress") and Kitchen & the Plastic Spoons ("Happy Funeral"). The use of obscure cult classics reminded me of the films "Pump Up the Volume" and "Empire Records", two other great films that have a similar vibe to Little Sister, that is, a wacky plot but played mostly on a serious level to keep things real.

Acting is excellent all around with a notable performance by Ally Sheedy who plays a dysfunctional mom who could easily be the grown up version of her iconic character in "The Breakfast Club" (1985). Cinematography is interesting, beginning with conservative shots & reality (hand held camera), but as the plot gets weirder so does the camera, bringing us to a bizarre Halloween climax that could've easily been shot by Tim Burton. Little Sister is totally worth the price of admission and I'll probably be watching it a 2nd time. So I guess you could say this nun flick is habit forming. (How's that for a ba-dumb-ching)

Great movie! A young nun (Addison Timlin) comes home after years of avoiding contact and tries to reconnect with her family. The simple plot is justified by the most relatable thing for any human which is how to spend your life.

I am an atheist, but grew up a Christian and will always love the great morals an values that come with the religion. I often wish I could believe in god and feel part of a powerful community that's out there to do good, but I've spend too much time hating on the dark cynical stuff of organized religions. I have come to see most of them as great money scheme's.

This movie called Little Sister made me totally forget about the cynical stuff for a while. It's just simply being part of something good that makes you motivated to do good and ultimately make you feel good about yourself. This movie tackles this feeling in different ways than just religion. I had a sense that the movie put the same feeling on a lot of things in life like going in the army, being a parent or even joining a terrorist group that fights for a cause you believe in. I am just speculating but that's how it translated to me.

There you go, a simple movie about a young nun coming home for the first time in years and it still gave me all the good and bad feelings where it needed to and even gave me some stuff to think about. All the actors are very entertaining and believable, but the lead actress Addison Timlin who plays the nun totally steals the show. A beautiful actress that can tell a story with her face. I loved it.

I definitely recommend this movie. Even if this is normally not your cup of tea, I would still give it a try. It's just 90 minutes and flows by even faster by great editing. You might be pleasantly surprised.

Final Rating: (8/10)

It's 2008. Novice nun Colleen Lunsford (Addison Timlin) is a former goth teen turned religious. She goes home to her estranged family to be with her brother. He is reclusive for unseen reason and hiding from the media. She has a contentious relationship with her mother Joani Lunsford (Ally Sheedy).

This is a quirky family indie with a side of political commentary. The political commentary confuses me. I'm not sure what the movie is trying to say other than the Obama Karen. Maybe it's just simple coloring for the mother-daughter dysfunction. That's the heart of the movie anyways. Other than the drugs, I don't know much about the mother's life or their conflict. This seems to lay out a fine dysfunctional family, but I would like to dig deeper.