×
You will be redirected back to your article in seconds

The Oregonian

Calvin Lee Reeder's "The Oregonian" is to early 1970s U.S. indie horror what recent "Amer" was to vintage Italian giallos.

With:
With: Lindsay Pulsipher, Robert Longstreet, Matt Olsen, Lynne Compton, Roger M. Mayer, Barlow Jacobs, Chadwick Brown, Jed Maheu, Tipper Newton, Zumi Rosow, Scott Honea.

Calvin Lee Reeder’s “The Oregonian” is to early 1970s U.S. indie horror what recent “Amer” was to vintage Italian giallos: an attempt to wring art from trash through retro-styled atmosphere alone. That can be striking in miniature, but over a feature-length haul it begins to matter that the plot is going nowhere — or worse, that there is no plot. Labyrinthine pic, whose heroine flees vague terrors in an underpopulated rural area, whips up a few fever pitches of alarmed sound and image. But even the staunchest art-horror fans are likely to find the whole wearying. Minor DVD/download exposure is signaled.

Titular young woman (“True Blood’s” Lindsay Pulsipher) wakes at the site of an apparent car accident covered in blood and suffering from amnesia. Searching for help in landscapes eerily near-empty of life, she meets menacing and/or goofy personalities like a witchy woman (Lynne Compton), truck-driving “Omelet Man” (Roger M. Mayer), someone in a giant green fun-fur costume, and her own abusive husband (Robert Longstreet). Reeder shows a knack for unsettling audiovisual textures, but once it’s clear “The Oregonian” will offer no real storyline or explanations, viewer patience wears thin.

The Oregonian

Production: Produced by Christian Palmer, Roger M. Mayer, Christo Dimassis, Wen Marcoux, Ryan K. Adams, Scott Honea, Joey Marcoux. Executive producers, Steven Schardt, Elana Kruasz. Directed, written by Calvin Lee Reeder.

Crew: Camera (color, Super 16/16mm-to-HD), Ryan K. Adams; editor, Buzz Pierce; music, Scott Honea, Calvin Lee Reeder, Jed Maheau. Reviewed at Sundance Film Festival (Park City at Midnight), Jan. 26, 2011. Running time: 81 MIN.

With: With: Lindsay Pulsipher, Robert Longstreet, Matt Olsen, Lynne Compton, Roger M. Mayer, Barlow Jacobs, Chadwick Brown, Jed Maheu, Tipper Newton, Zumi Rosow, Scott Honea.

More Film

  • RUDOLF NUREYEV 1961

    Film Review: 'Nureyev'

    It would be absurd to say that Rudolf Nureyev lived, or danced, in anyone’s shadow. He was a man who leapt and twirled and flew onstage, all muscle but light as a feather, with a freedom and force that reconfigured the human spirit. There’s no denying, though, that over the last few decades, and especially [...]

  • Die Kinder Der Toten review

    Film Review: 'Die Kinder Der Toten'

    The hills are alive (or rather, undead), with the sound of music (also mastication and the moaning of zombies) in Kelly Copper and Pavol Liska’s experimental, dialogue-free, home-movie-style riff on Elfriede Jelinek’s “Die Kinder Der Toten” (The Children of the Dead). A seminal text in Jelinek’s native Austria, the 1995 book has never been translated [...]

  • Idol review

    Film Review: 'Idol'

    How many twists can a plot undergo before it snaps? This, more than any of the many political, moral and personal conundrums that snake through “Idol,” seems to be the question writer-director Lee Su-jin is most interested in posing with his extravagantly incomprehensible sophomore feature. A seedy political thriller by way of grisly revenge movie [...]

  • The Last to See Them review

    Film Review: 'The Last to See Them'

    Truman Capote’s “In Cold Blood” stretches long as a late-evening shadow over Italian director Sara Summa’s feature debut “The Last to See Them.” The Italian title, “Gli Ultimi Viderli Vivere” which translates literally to “The Last to See Them Alive,” is also the heading of the opening chapter of Capote’s book. The setting is, similarly, [...]

  • Kalank

    Film Review: ‘Kalank’

    Events leading to the 1947 Partition of India serve as the forebodingly serious backdrop for the exhaustingly overextended razzmatazz of “Kalank,” writer-director Abhishek Varman’s lavish but ponderous Bollywood extravaganza, which opened in the U.S. on more than 300 screens the same day as its Indian release. Despite the preponderance of sets and costumes spectacular enough [...]

  • WGA Agency Packaging Fight Placeholder Writer

    WGA: 92 Percent of Writers Who Signed Statement of Support Have Fired Agents

    The Writers Guild of America estimated that over 92 percent of their members who support a new code of conduct for talent agencies have fired those representatives. Letters announcing formal termination will be delivered on Monday, the guild said in a late-hitting memo on Thursday, as most agencies will be closed tomorrow in observance of [...]

More From Our Brands

Access exclusive content