Little Sister

I saw 'White Rabbit' years ago and loved it, though frankly forgot about it because life / pandemic / etc. So when I stumbled across 'Little Sister' and connected the dots la la-la-la, I dug in. And like an inviting warm bath where this cozy tale takes you eases you into you. And by you, I mean yourself. Our self. Our selves. The underlying premise of the narrative is we are all that we are, the lovely, the tragic, the awards, the accidents, and the glue in it - if we are lucky - is the DNA of our upbringing in our homes and home towns. You know, some movies you're watching the clock, wondering when it's going to end. For me and this ensemble I was sold and smitten. The double down meaning and wink / nod of 'little sister' only make this little sojourn that much more pleasant. The moral of the story is some times you get a semi urgent email from a parent, and some times that is the impetus to drop what you're doing. All the while that journey of self-discovery is still afoot too.

After being thoroughly impressed by Addison Timlin in "Submission," I decided to find out what I'd missed after previously dismissing this talented actress as...well, just another actress. And since I completely rewrote my review for that film, I ought to do the same for "Little Sister."

The eponymous character, in both literal and clerical senses, is Colleen Lunsford (Timlin), a twenty-odd novitiate devoted to her NYC church. She finds fulfillment in doing God's work, yet her Mother Superior (Barbara Crampton) can tell something is holding her back. It's probably to do with her childhood home in Asheville, NC, and when a halting, exclamation-filed email from her mother Joani (Ally Sheedy) announces the return of her brother Jacob (Keith Poulson) after a life-changing experience in Iraq, Colleen can't help feeling compelled to return. If not for herself, then for Jacob, who in the height of the 2008 elections is being held up as a symbol of everything that's wrong with America, whether he wants to be or not. In reluctantly opening herself up to that world again, and her roots as a high-school Goth chick, Colleen has to wonder if she can't be both who she was then and who she intends to become. Weirdness ensues along the way. Such weirdness.

It's a good setup for an indie drama, and "Little Sister" is very indie, from its low-key vibe and naturalistic performances to its emphasis on character over plot. Aside from Colleen's arc there's little sense of forward momentum or a buildup toward something. But that's okay; writer-director Zach Clark is content to merely observe these people finding their way through life, much like Greta Gerwig did with "Lady Bird," and both films are all the better for it.

At the heart of "Little Sister" is Colleen's relationship with her deeply dysfunctional family and their halting attempts to connect. Jacob, horribly disfigured and almost angry with himself for not dying, has become an antisocial shut-in, pounding away on a drum set at random hours to keep his demons in check. His live-in fiancee, Trisha (Kristin Slaysman), remains devoted, but his aloofness is clearly wearing her down. Joani and Bill (Peter Hedges), lifelong stoners, simply take it in stride - although Joani, fighting her own insecurities with prescription meds and less conventional remedies, always seems one forced smile from a nervous breakdown. Only Colleen, who escaped the cloying passivity of this small town, has the patience and determination to keep trying. These relationships have an unforced, bittersweet tone to them; feelings of rediscovery and camaraderie, or antipathy, are authentic and rewarding, and watching them grow and change is an equal pleasure.

Much of this the film owes to Timlin, once again fantastic in a complex, layered role. In early scenes at the nunnery, Clark uses her petite stature and Natalie Portman-esque voice to great effect, showing us a young woman who doesn't exactly float through life but isn't taking charge either. She stumbles on her words, has difficulty giving the Reverend Mother a straight answer, and recoils from the overbearing attention of people who have "never seen a real nun before." The unease and indecision is written all over Timlin's face, even behind a pair of sunglasses, and you have to wonder how she survived her kooky family. But once Colleen decides to reach Jacob on her own terms, we get a totally unexpected scene - arguably the film's best - that's wonderfully out-there and yet grounded at the same time, a glimpse of who Colleen once was and might not have completely let go of. Timlin imbues her with such warmth and quiet strength you'd hardly believe this is the same actress who played a far more dubious person in "Submission." That's how good she is.

She's ably supported by Poulson, who projects weariness, self-loathing, and a slow return to feeling at ease with himself using little more than his voice. Crucially, he and Timlin have a solid rapport; I particularly liked the way the film contrasted their height difference without making it a thing. Most impressive, though, is that the considerable layers of makeup on his face are never the most interesting thing about him, even if it's what you immediately notice. He digs deep enough that by the end, it's practically irrelevant.

The rest of the cast, made up of relative unknowns and a few indie veterans, are largely fine without any real standouts. But I must make mention of Ally Sheedy. Other reviews likened it to watching Allison from "The Breakfast Club" all grown up and realizing she's probably turned into her parents (forget all that makeover crap), and it's an apt description. Flashbacks in the form of old home movies - a slightly contrived device, particularly the way adults are only seen from the waist down - show us a woman who wants the best for her children yet resents them, in a way, for the sacrifices they represent. Life has continually disappointed Joani, and while she makes every effort to cope, sometimes it's easier to tune out and let things run themselves into potential disaster. Sheedy captures this in smiles that look like grimaces of pain, an annoyed glare as Colleen prays before dinner, or the haphazard way she pours herself wine while adding liberal amounts - among other things - to her cooking. It flirts with being too broad early on, but finds balance at exactly the right time, during a quietly fraught talk in which mother and sister only just learn how to see eye to eye. In that moment, unburdening her soul to the one she desperately wants to feel close with, Sheedy is heartbreakingly authentic, and if she really has decided to retire from acting - except for a cameo in "X-Men Apocalypse," she has not appeared in anything since - this was a strong final role.

I hesitate to say there were things I didn't like about "Little Sister," and they're honestly more nitpicks than anything. Earlier I mentioned the relative lack of plot, and considering what the film wants to be, that's fine. However, there were one or two tangents I wish had been elaborated upon, and characters I would have liked to spend more time with. The film's flirtations with politics - making Jacob an Iraq vet during the 2008 election, an interpretive dance show that came off as very anti-Bush - seem to be pointed commentary, but ultimately do nothing except date the film. Again, nitpicking, but I felt like Clark wanted to tell me one thing, then lost interest and moved on. But hey, "Lady Bird" did the same, and I loved "Lady Bird." So maybe I'm just dumping on this film for not being "Lady Bird," which is of course unfair, so pay that no mind.

No, the one moment that truly bothered me came in the last ten minutes, during a sudden burst of what I guess you could call action after there's already been a dramatic climax. Upon reflection it's not wholly unexpected - at least two earlier scenes hint at it - and there's a morbidly goofy tone, but it feels like a weird detour, and afterward I had to wonder why it was there at all. But I might just not be reading it correctly. Who knows?

I mentioned in my review of "Submission" that, while I realized Addison Timlin is an amazing actress, I'd yet to see her in a film that equaled the level of passion and dedication she brings to each project. "Little Sister" is, in my limited experience, perhaps the closest she has come thus far, giving her a well-deserved leading role and surrounding her with a strong supporting cast. At heart, it's a slight, quirky character drama made with obvious love, a story of finding yourself while helping others do the same, and what it means to be a family. The impression it makes will be small, but hard to forget.

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)

This film is a rare gem, watch it.

---Mild Spoilers----

This is one of those films which makes you think about it after watching it. It's a sweet film filled with sadness. The lead actress is struggling to find a structure, her veteran brother is struggling with ptsd and injuries, her brother's fiance is struggling whether with her fiance's new appearance and is secretly a adult cam actress, her mother is struggling with mental illness and committed a failed suicide attempt.

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.