Uncle John

This actually won an award? Of course, (for cinematography?!) at a small film festival where there isn't much going on. This film is basically about not much. Something about a murder? Maybe. We assume it's a murder but there is no evidence since the film opens with an ambiguous scene. And perhaps the whole film is ambiguous. It's never clear if the opening was a murder, it's never clear to Danny if his brother was murdered. It appears more like Dutch, the town's bully, was depressed and wanted to atone for his misdeeds and doesn't happen upon Uncle John but commits suicide and Uncle John covers it up. The lake was dragged and nothing was discovered. The lead suspect was a dead end. Ben's relationship with Kate is ambiguous. Is it romance or friendship?

This film spends most of the movie in limbo, not going anywhere. Like a sailboat with no wind, in dead calm. Ambiguous relationship/romance, ambiguous murder/suicide, ambiguous uncle (he has a hidden side), ambiguous writing, and more. Makes for a below average movie. It's one redeeming quality is the fairly good acting. John Ashton does a solid job of acting (not award-winning but quietly understated) and the young Ben and Kate (Alex Moffat and Jenna Lyng) are charming and have good chemistry. It has interestingly good intentions but just doesn't cut it. It's like the protagonist of the film, the youthful Ben, who is unsure of many things. It lacks confidence and closure. But it tries.

Which for me is tragic, since I tend to favor independent and international films, rather than the standard Hollywood fare. But this admittedly does not come close to many good films out there. If you skip this movie, you wouldn't miss anything. Real rating? anywhere from 4.7-5.4.

John Ashton is one of those supremely gifted character actors that constantly find themselves in movies not quite worthy of their talents. The litmus test is this: Search through Ashton's film resume here on IMDb and find movies you've seen that he's starred in. His wide-eyed, wizened face has been endearing you longer than you may realize (his most famous turn has got to be as Judge Reinhold's gruffly sardonic mentor in "Beverly Hills Cop"). His comedic delivery is often so dry it crackles.

This makes him the perfect find for the title role in director Steven Piet's surprisingly engaging, often very funny thriller "Uncle John." The film begins with John hauling away and burning a body in one of his fields on his rural Illinois farm. The victim turns out to be a guy named Dutch who (from the vitriol spouted by almost everyone in the small town) people despised --- and even more so when he found religion and embarked on the not-too-smart idea of going from door to door and "apologizing" for his past sins.

Piet and co-writer Erik Crary's script is rather bold in its execution however, because it doesn't just stick with John and his quietly engrossing story. The writers ping-pong constantly to another plot revolving around John's nephew (Alex Moffat) and a co-worker he's tentatively courting (Jenna Lyng) at a small commercial ad agency in Chicago. For a good part of the film, you'll wonder what the hell this plot has to do with the A-story, but after a while you won't care: Moffat and Lyng have such an electric chemistry and their dialogue is so real, so drop-dead funny at times, that it's just a joy to watch (the B-story actually does provide a lot of insight into John's character, though it's not really needed thanks to Ashton's skill).

It's one of those two-trains-speeding-down-the-track-rolling-right-for-each-other-type scripts (think "No Country for Old Men," though not on that scale, obviously). And of course there's a time bomb at the collision point, and quite a menacing one, in Ronnie Gene Blevins, who plays the dead guy's angry, redneck, slightly-psychotic younger brother.

It all comes together because of Ashton, however. As per usual, he conceals virtually everything he's feeling, but in that cunningly transparent way that lets you into his subconscious --- whether you want to be there or not. He tells you everything you need to know about his life, his dead wife (who Dutch was snaking), and his sense of morality without saying much at all. It's all in that face and those eyes, which have just gotten more expressive with time.

"Uncle John" also gets the look, feel, and cadence of rural Illinois stunningly right. The diner scenes with John's daily cronies (Don Forsten, Gary Houston, and Matt Kozlowski --- all worth mentioning) are priceless and not just in non-condescending accuracy. They're a wonderful Greek chorus. And Alex Moffat's dry-ice deliveries recall David Spade at his sharpest.

It's not a film for the impatient, but there's a mother-lode of riches in that there brush fire.

Before going on to direct a whole season of "Channel Zero" and commit to some other tv-series, director Steven Piet put on the table his directional debut (also his first and only writing credit) "Uncle John" - part subtle, romantic drama and part small town folk murder tale. "Uncle John" might be lesser than the sum of its good parts, but I can hardly call it disjointed, and its strength resides mainly in atmosphere, performances and cinematography.

In "Uncle John", there are two story lines evolving simultaneously, one concentrates on Uncle John himself as he tries to get through the days in his small, rural town all the while trying to avoid suspicion of murder (which he sure commited, not a spoiler at all). John Ashton provides an absolute stand out, career-defining performance. There's not a whole lot of action or dialogue in his story, with John it's just nice to be with him as he deals with his misdeeds and drives lonely around the country roads. Atmosphere's just right, careful, humble, effective & so is the cinematography, so simple and thought through that it's near perfect. At the same time, we follow John's nephew Ben as he spends his days in the big city, working as a digital designer and slowly falling in love with his new colleague Kate. More dialogue and a steady injection of romance, all to a good measure, until they go on an impromptu trip to visit Uncle John. "Uncle John" doesn't offer the substance some may expect and perhaps questions don't get answered, but the focus, for the whole runtime, is unmistakably fixed on the emotional journeys of the characters, with (can't emphasize on it enough) the absolute highlight being John Ashton and his character's subtle, contained and humble yet nuanced performance / character arc. Of course, the pacing of "Uncle John" is slow. Worth it though. When both stories join together, the conclusion doesn't result in fireworks as I was expecting, which is a good thing. I was anticipating the opposite of what happened, and what happened was so much more in sync and spirit with the rest of the movie.

"Uncle John" is a quiet and subtle film, a beautiful in its own way indie drama. The goods it provides are good looks, subtly effective vibes and great performances. My rating: 7/10.

I feel like this was a story that could have used a lot more refining around the edges, as to make the mystery aspect hit a lot harder and to make it more effective. As it is, it's still pretty good. I do admire it's resistance to go for easy, cheap thrills, as overall the film never goes into places that you expect it to go, or to have twists and turns that are the usual for this type of film. The acting is very good I think, all believable in their parts especially the lead actor playing Uncle John. I do think that the film would leave a lot of audiences wanting more, and expecting a lot more out of it. As it is however, I do feel like it leaves a strong enough impact to really be recommended.

I watch this knowing nothing about it as I like to do with smaller, indie type films.I watched this expecting a horror movie, it isn't. The acting was fantastic, especially John Ashton who I hadn't seen since way back when he was in Beverly Hills! The pacing was slow but kept me glued the whole time. The sub story which runs along separately from the main story was great. Casting was perfect. Could quite easily pass as a Cohen Bros film, very Fargo-ish. The last 20 minutes are so tense my heart was thumping! Beautifully shot, I will be checking out the director's other work real soon and I just hope this gets a UK blu ray release. A real gem of a film that looks great, sounds great and shows yet again that you don't need £100 million to make a great film! Bravo!