The doctor advises him to see a neurologist immediately, but our hero takes the train to San Diego anyway. Slapdash prints series#A doctor (Steve Little, who starred in “Cataclysm”) performs a series of tests, during which Kent perceives the physician’s shirt color to change. Slapdash prints movie#At a party, Osborne pitches the idea to Swanberg, who decries Hollywood’s sequel culture and complains that making a follow-up to a movie like the no-budget “Uncle Kent” is “even worse.” But he soon gives his him his blessing to seek another director for the project, at which point “Uncle Kent 2” itself jumps into its opening credits and switches to Rohal’s hands (and from 1.33:1 to a standard frame).Īt his cat-paraphernalia-adorned home, Kent awakes every morning with a different pop song in his head. He’s working on writing part two (“We open with Kent on porch, weed” - a line immediately enacted in the film). “Uncle Kent 2” begins with an excerpt from its predecessor we soon see that an undies-clad Osborne is watching it on his laptop. Built from rambling improvisations, that prurient movie might, with considerable charity, be categorized as a portrait of emotional reticence that looks forward to Swanberg’s deft and delicate “Drinking Buddies.” Slapdash prints free#at Kent’s home, questioning him about his masturbatory habits and eventually participating in a threesome with him and a free spirit (Josephine Decker, who isn’t present for the new outing). She has a boyfriend, but seems keen to spend her time in L.A. The first film observes the storyboard artist Osborne, a Swanberg collaborator, as he spends a weekend with a journalist (Jennifer Prediger) he meets on Chatroulette. Swanberg helms only the first 12 minutes of this installment the real auteur is Rohal, the absurdist behind “The Catechism Cataclysm,” a farrago of non sequiturs and shaggy-dog plotting that offers an indication of the cult-courting approach he takes here. Still, the humor in the new pic assumes at least some familiarity with the earlier one, a hefty presumption considering that the original barely played. Stylistically, the film bears little resemblance to “Uncle Kent,” conceivably the laziest picture that the prolific Swanberg has yet made. A bow at SXSW, whose attendees might have a higher-than-average fluency with the Swanberg-verse, makes sense, but the movie is likely to confront a B.O. While “Uncle Kent 2” ekes out a few funny moments over its brief running time, the movie is far less formally accomplished than Richard Kelly’s similar end-of-the-world chronicles - or even the guerrilla Disney World/Disneyland production “Escape From Tomorrow,” which it sometimes recalls. The grating solipsism is, of course, central to the ostensible humor of Todd Rohal’s slapdash sci-fi comedy, a follow-up to Joe Swanberg’s 2011 indie that finds Kent Osborne (who is credited as the writer and stars as a version of himself) facing an imminent apocalypse at a San Diego comic convention. An unthinkably self-indulgent sequel whose primary comic conceit is that it’s an unthinkably self-indulgent sequel, “Uncle Kent 2” - or “Uncle Kent 2!” onscreen - is such an inside joke that it’s difficult to imagine an audience for it beyond an enabling circle of friends.
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