While they're hardly alone, more than anything else it's the cast that makes this. Granted, I'm already a fan of Melanie Stone, but with the same high energy that she's brought to pictures like 'Deadstream,' 'V/H/S/99,' the 'Mythica' series, or even 'Cupid for Christmas' she does much to enliven the proceedings here. That definitely goes for her co-stars, too, like Alex Gunter or Gabriel Casdorph, and Aubrey Reynolds is charming. The cast were clearly having a blast making this, and as the primary filming location is a big old park, everyone could really just let loose. That same good cheer extends to composers Brenden Bytheway and Doug May with their perky synth-driven score, visual effects artist Emir Ali Demirtas, and Gabe Martinez and Casdorph's lighthearted, sprightly direction. And all this quite goes for Martinez's screenplay, too: there are very dark undercurrents in the story, and some of the dialogue given to Stone as Sandy is more tastelessly crass than it is funny, yet despite the core premise of a person having disappeared under suspicious circumstances, and traces of thriller airs, the writing is overflowing with wry, cheeky, wonderfully funny silliness. It's a bit of a rough start, but I think 'He's dead & so am I' is terrific!
There's just enough earnest heart and serious storytelling here to help the proceedings stick, and these touches serve as splendid counterbalance that in turn accentuates the ridiculous approach that Casdorph and Martinez took in the writing and direction. I laughed more and harder watching this than I have with some generally well-regarded comedy classics: overlaid graphics, effects whose obviousness here works in their favor, and fun-loving "ghost facts"; the pointedly direct, upfront, and sideways narrative; the over the top characterizations and dialogue; and scene writing that is clearly bent at all times toward realizing a beat in the most giddily frivolous manner possible. Sometimes that means exchanges of dialogue that's extra drawn out just for kicks, sometimes that means physical comedy, and sometimes that means playing fast and loose with queer verbiage but in a spirit of cheerful frivolity rather than punching down. From the original music to acting that unreserved embraces the gleeful reverie; from the impertinent first few minutes through to the very end of the credits, during which we're treated to still more gaiety to keep our attention, 'He's dead & so am I' is a picture built purely to entertain, and I think it handily succeeds with a bounty of tremendous wit.
Not every last inclusion here comes off equally well, yet even with imperfections, far more than not this is highly enjoyable from top to bottom. Why, even though I had particular motivation to watch, I'd be lying if I said I didn't have some doubts, but well before the ending rolls around I was having such a great time that any earlier misgivings had all but evaporated. I can understand that this won't appeal to all comers, and that's okay; between the decidedly straightforward plot and some of the bawdily cruder aspects of the humor, in the very least, there are parts of this that ride the line for me, too. It's easy to get swept up in the gladly harebrained sauciness, however, and I think if folks give it a chance then much more than not it will find strong favor from most anyone. All I know is that when all is said and done I think this is fantastic, and it made me laugh a lot more than I would have even expected from the outset. For my money 'He's dead & so am I' is an utter delight, and I'm pleased to give it my very high and enthusiastic recommendation!
There's just enough earnest heart and serious storytelling here to help the proceedings stick, and these touches serve as splendid counterbalance that in turn accentuates the ridiculous approach that Casdorph and Martinez took in the writing and direction. I laughed more and harder watching this than I have with some generally well-regarded comedy classics: overlaid graphics, effects whose obviousness here works in their favor, and fun-loving "ghost facts"; the pointedly direct, upfront, and sideways narrative; the over the top characterizations and dialogue; and scene writing that is clearly bent at all times toward realizing a beat in the most giddily frivolous manner possible. Sometimes that means exchanges of dialogue that's extra drawn out just for kicks, sometimes that means physical comedy, and sometimes that means playing fast and loose with queer verbiage but in a spirit of cheerful frivolity rather than punching down. From the original music to acting that unreserved embraces the gleeful reverie; from the impertinent first few minutes through to the very end of the credits, during which we're treated to still more gaiety to keep our attention, 'He's dead & so am I' is a picture built purely to entertain, and I think it handily succeeds with a bounty of tremendous wit.
Not every last inclusion here comes off equally well, yet even with imperfections, far more than not this is highly enjoyable from top to bottom. Why, even though I had particular motivation to watch, I'd be lying if I said I didn't have some doubts, but well before the ending rolls around I was having such a great time that any earlier misgivings had all but evaporated. I can understand that this won't appeal to all comers, and that's okay; between the decidedly straightforward plot and some of the bawdily cruder aspects of the humor, in the very least, there are parts of this that ride the line for me, too. It's easy to get swept up in the gladly harebrained sauciness, however, and I think if folks give it a chance then much more than not it will find strong favor from most anyone. All I know is that when all is said and done I think this is fantastic, and it made me laugh a lot more than I would have even expected from the outset. For my money 'He's dead & so am I' is an utter delight, and I'm pleased to give it my very high and enthusiastic recommendation!