In The Climb–as occasionally in life–friendship can be an uphill struggle at the best of times. So how about the worst?
Michael Angelo Covino’s auspicious feature debut confronts that topic as a barometer might an oncoming storm. It’s essentially a buddy comedy, although one of the caustic variety, and built to make you squirm just a little, like Judd Apatow put through a filter of something like Festen or Force Majeure. It’s also a debut with the huevos to reach for a kind of auteur status, the sort of film that leaves people talking about things like “cinematic language.”
For better than worse, Covino directs it to within an inch of its life, presenting the modest narrative as a series of meticulously choreographed vignettes; each shot in what appears to be a single take. The first of these is a great two-hander between Covino and his costar/cowriter Kyle Marvin,...
Michael Angelo Covino’s auspicious feature debut confronts that topic as a barometer might an oncoming storm. It’s essentially a buddy comedy, although one of the caustic variety, and built to make you squirm just a little, like Judd Apatow put through a filter of something like Festen or Force Majeure. It’s also a debut with the huevos to reach for a kind of auteur status, the sort of film that leaves people talking about things like “cinematic language.”
For better than worse, Covino directs it to within an inch of its life, presenting the modest narrative as a series of meticulously choreographed vignettes; each shot in what appears to be a single take. The first of these is a great two-hander between Covino and his costar/cowriter Kyle Marvin,...
- 6/6/2019
- by Rory O'Connor
- The Film Stage
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