STILLWATER: It Runs Deep-ish


As I said in my mini-review last week (sorry for the delay and thank you for the messages of condolence about the loss in my family), this review was, ostensibly, requested by Nino Aldi, the film’s director/writer/producer/star. I can’t imagine how far down the internet reviewer hierarchy I am, so this was flattering, to say the least. But, enough about that, on with the show:


I refuse to believe none of them has a flask in this shot.

The movie starts with the police interviewing Willie (Paul Elia) about recent events. Six former high-school baseball teammates, including Willie, all now in their mid-30s, go on a reunion camping trip into the wilderness in Northern Minnesota on the Boundary Waters. On the way, Willie, a podiatrist, and Dawson (Tyler Ritter), his best friend whose marriage is ending, pick up Coop (Ryan Vincent), a self-centered womanizer. They meet up with military veteran Richie (Nino Aldi), Alcoholic Jack (Travis Quentin Young), and perpetually irresponsible Leech (Eric Michael Roy) who has brought along his Goth Drug-Dealing friend Wizard (Mike Foy) and Wizard’s girl companions Vera and Fauna (Georgie Guinane and Carlena Britch).

Goths in the mist.

That night, the group takes a large amount of drugs and alcohol and wakes up to find that Coop is dead at the bottom of a cliff. They determine that it’s impossible for Coop’s injuries to have come from the fall, so one of them is the killer. The group is divided over whether or not to go to the police but ultimately decide to try and figure out whodunnit before calling the police. Slowly, paranoia and trauma start to work through the group, turning them on each other.

It’s in the trailer, therefore not a spoiler.


So, it’s not the most original set-up: Friends are isolated, they find out that one of them may not be what they think, paranoia starts to drive them apart. The idea of mistrust causing people to betray each other is older than Lord of the Flies and has been explored in almost every way, but this movie manages to put a few new twists on it, particularly in the third act.

So, let’s go through the pros and cons of the film:

In the pro column, I think I first have to say that the music in this film is excellent. I noted it several times while watching the movie and I even made it a point to look up Bill Appleberry, the person behind it. It turns out that he is the person who mixed every song ever on The Voice for which Nino Aldi was a field producer, as well as the keyboardist on Kiss’s Psycho Circus, so it makes sense that he knows how to set a mood. In a film genre like mystery/thriller, where tone is so important, having good music is extremely valuable, so this was a big plus. It doesn’t have anything as memorable as the Exorcist theme, but it damn well tells you how to feel at any point in the story.  I also liked the song they used during the opening:

The cinematography is pretty solid, with a number of shots that isolate the characters or convey distance between them as they grow apart. Again, that’s something that’s needed in this kind of film. The setting is conveyed as being both beautiful and isolated, making it perfect for the events of the film. I also thought that most of the performances were really good. Actually, I should say instead that all of them were very good, it’s just that a few of them felt like they weren’t exactly all on the same page as to how exaggerated some of their traits should be. In an ensemble whodunnit, you really need the characters to be distinct (think Murder on the Orient Express or Hateful Eight) so it actually pays off to be a little more exaggerated, whereas some of these performances were underplayed for this kind of film. I do think that Ritter and Elia nailed it, though.

Shot in shadow while being deceptive. Worked for Welles, works here.

I’ll address the other big pro after the spoiler break, but it’s by far the biggest pro.

As to the cons, I’ll say that it takes the movie about 20 minutes to really get going and there is a HUGE amount of semi-awkward exposition at the beginning. I mean, there are a lot of characters so some dialogue that’s heavy on the backstory was inevitable, but it still goes a bit overboard. Now, after the movie really starts going, the dialogue actually starts being revealing without being overly expositional for a while, which only makes the earlier awkwardness more apparent. I think it’s this slow start putting people in a bad mood that probably hurts viewers’ opinions of the film. If I had been just watching this randomly and caught only the first 15 minutes, I probably would have turned it off and switched to The Third Man.

I won’t apologize for loving Orson Welles.

A few other things: Some of the character motivations seem kind of random, particularly Richie’s over-the-top hatred of Wizard and its fallout from his PTSD. The decision not to go to the police seemed especially dumb, although I admit the scene of them literally picking sides was pretty powerful. The police station framing device, as I’ve mentioned at least once before on this site, is something I hate, even though it was at least used decently at the end of this film (unlike most others). The movie contains a lot of lines that are referential to other movies, but most of the references don’t really help elevate the narrative, they’re just there. Also, everyone gives Willie shit for being a podiatrist, which is weird for people in their 30s. Like, I get that they’re jocks re-living high school, but most of them are pretty successful, it seems, so mocking the doctor comes off a little disingenuous. If most of them were poor, then it would be jealousy, but here, it just seems arbitrary.

The movie tells us who wants what… BUT DRAMATICALLY.


Okay, now for the big pro of this movie: The ending was great. Not only did it make sense, it actually made more sense than any of the other options. One of my notes from watching the film was that it seemed entirely possible that Coop knocked himself out while drunk/high and that the movie characters were ignoring that. So, when it turned out that Coop was actually still alive and HAD done just that, it was a wonderful moment of reality grabbing hold of the movie. To recontextualize everything that was done to be based on a false assumption turned the entire movie on its head. Then, it immediately capitalizes on that by pointing out that Willie, who had seemed to be the rational one, was an unreliable narrator and had, in fact, killed Dawson himself and conjured up Dawson’s confession as a way to get around being the one responsible for the entire series of events. It also calls into question whether Richie actually killed himself or if Willie did it and tried to imagine that Richie had committed suicide in a way that seemed similar to murder. Everything can be re-considered in that light.

It also explains why it seems like everyone gives Willie shit for being a podiatrist, since, in his mind, not being a “real” doctor led to the misdiagnosis that led to the deaths of his friends. They may not even have said much about it, but he interprets them as cruel attacks in his memory.

Honestly, if you watch the film knowing the ending, much of the film now makes more sense. With Willie being the one shaping the narrative, the dialogue is now what he is saying people are saying, not necessarily what was actually said. Basically, it shifts the whole film from an objective telling to a subjective retelling, and that makes some of the weak points stronger. Now, it doesn’t necessarily forgive everything, since a movie with a twist needs to work strongly on the first watch and still work on the re-watch now that you know the twist (think Fight Club), but any other ending probably would have dropped this movie down quite a bit in quality.


Overall, I was pleasantly surprised by the movie. It’s got great sound, some beautiful shots, a few solid performances, and a hell of a third act. Honestly, my notes at the end of the film devolve into various ways of saying “Holy Hell, that’s awesome.” It has issues, mostly in the First Act (to the point that I almost recommend just skipping to about 25 minutes in), but it’s still worth seeing if you’re a fan of the mystery/thriller genre. You can rent it on Amazon for $4 or through other sources at the movie’s website.

I’ve included my viewing notes for this one after the read more tag.

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews

If you enjoy these, please, like, share, tell your friends, like the Facebook page (, follow on Twitter @JokerOnTheSofa, and just generally give me a little bump. I’m not getting paid, but I like to get feedback.

Continue reading STILLWATER: It Runs Deep-ish

Joker Mini-Review – STILLWATER Trailer

Well, this was a strange occurrence. I received a request from (apparently) Nino Aldi, an independent film producer and director, asking for a review of his new film STILLWATER and its trailer. As you regulars know, I try to do any requests I can feasibly undertake (given that I have almost no money at the moment, there are some challenges), so I will do this one. I’m reviewing the trailer today and the film tomorrow, because doing it the other way around would be weird.

Update: After I decided to undertake this, I had a loss in my family. As such, I have moved the movie review to Monday in order to travel and help with the funeral arrangements.

Okay, so, here’s the trailer:

SUMMARY for those of you who can’t watch

A group of friends who were apparently former champions of something go camping in the middle of the woods near a lake. They have a night of drinking, only to find in the morning that one of them, Cooper (Ryan Vincent), has fallen off of a cliff to his death. For reasons that aren’t explained in the trailer, because time-saving, they realize that Cooper’s death wasn’t an accident. However, they’re the only ones in the area, so it has to have been one of them. They start to turn on each other out of suspicion, with at least one image suggesting another murder.


It’s odd to review a two-and-a-half-minute trailer, but here are the positives:

The set-up and isolation are established pretty quickly, as is the nature of the relationship between the characters. The sound definitely plays into the atmosphere from the beginning, not trying to surprise you with a cheap switch from, say, a traditional party movie track to a mystery theme. Obviously, I tend to favor a trailer being representative of the film, in tone if not in content, and the sound and score definitely seem consistent with the “suspicious death and ensuing accusations” vibe of the movie.

As opposed to, say, focusing a trailer on a 90 second dream sequence that misleads as to tone and content.

As to the content of the trailer, it has a few overly expositional lines in it, but… well, it’s a trailer, you need to convey a lot quickly if you aren’t a major studio. Lines like “there’s no way he fell down this cliff” on their own don’t carry much aside from saying “yes, the premise of the movie will include us finding our friend murdered.” In a movie, saying that without build-up or without a subsequent explanation, would be terrible. In a trailer, it’s just getting the point across, and works fine. When the group first starts turning on each other, it seems like they’ve skipped a little bit, but it does convey an idea of how seriously some of the members are taking this. Since it’s a murder, that makes sense.

The use of switching between group and isolation shots works well with the idea that everyone has gone from being part of a team to individuals suspecting each other. I’m always a fan of using the camera to convey the truth behind the scene and that’s usually what that kind of shot indicates.

And here are the drawbacks:

This trailer needed to have about 30 seconds cut from it. I don’t know if the length is just an industry trend, so maybe some of the material is there for that purpose. The reason I say that is that this film appears to be a mystery and that aspect of a movie will sell itself: Put out a good murder set-up and fans of the genre will want to see it just to find out what happens. Once you’ve sold the set-up, quit selling, because everything else can only make us less interested. In this case, it’s all the shots showing us the elements of the fallout amongst the group and the reiteration that the person who killed Coop was one of them. For the former, it just tells us that what we’re expecting happens, which can dull the fun a bit. For the latter, we’ve established that Coop was killed by one of them, so saying it again either accomplishes nothing or makes us think the twist is that he wasn’t killed by one of them. Neither of these really helps with selling the trailer.

Overall, I’m not saying the trailer really has me super amped to see the movie, but it also hasn’t shown me anything that screams “mistake.” I do at least want to find out who killed Coop, so… hopefully the movie either answers that or gives me a solid reason why it doesn’t answer that.

The movie’s available on Amazon and a few other places online, and their website is found via this helpful link.

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews

If you enjoy these, please, like, share, tell your friends, like the Facebook page (, follow on Twitter @JokerOnTheSofa, and just generally give me a little bump. I’m not getting paid, but I like to get feedback.