Published in: Short Film Reviews

Short Film Review “The Baker Brothers”

Author OneFilmFan

Published on: May 12, 2019

WATCH THE TRAILER HERE

First, the Recap:

When at first you choose to try something and don’t succeed–maybe it’s best not to attempt it again? While this may be a slight variation on the popular notion that urges us to “try, try again”, there is perhaps a certain level of failure that should really allow us to learn that particular aspirations really aren’t meant for repeat tries, more so if those pursuing said endeavor happen to lack the–skills–and brains–and–well, you understand, right? Take, for example, two such trouble magnets named Alan and Eddy Baker (Dallas White and Tim Harbolic), who have chosen a fine, steamy, rural Alabama circa 1953 morn to hatch a notorious and–well planned??–escapade–robbery. Armed robbery.

Settling in and finally getting up the gumption to move forward with their dastardly plan after moments of pondering, the pair grab their rifles and make for the country church that is to be their target. With service under way, the pair burst in, immediately launching into their–threatening??–demeanor, hooded faces and all, much to the initial shock of the small congregation and their Pastor (David Gaylor). However, it becomes painfully and absurdly obvious just moments into the crime that the two brothers aren’t exactly masters of their art, with Eddy suddenly distracted, then recklessly cavalier, in his execution thanks to one churchgoer Thomas Redding (John L. Criswell, Jr.) and a beauty named Marie (Jessica Ambuehl). Much to Alan’s growing chagrin and Eddy’s oafish ignorance, things just aren’t going to go as planned.

Next, my Mind:

A witty, lighthearted, playfully silly frolic through the long-lost fields of straightforward, only mildly coarse, good ole fashioned, laugh-inducing fun, this newest indie short film effort from writer/director/editor Anthony Codispoti carries itself on waggish wings, delivering an amusingly diverting romp that wears its goofiness on its sleeve with absolute, unapologetic pride. As many familiar with this critic’s overall notions about the tiring tendency of contemporary comedy aiming for the highest levels of crudity and crassness as badges of honor rather than the much preferred “Looney Tunes” style of point blank hilarity and whimsicality, it was quite refreshing to see the latter executed here in fine chuckle-worthy form, even in spite of the amount of harsh language present from one of the characters being JUST a tad tedious at times.

Yet, this wasn’t the level of distraction usually consistent with so much of modern attempts at what is truly funny, and therefore watching as these two innocently bumbling brothers completely fall apart in their first armed robbery attempt, much less at a church, is absolutely engaging. Every rule of how one would expect a robbery crew to act initially is entertained. But then, as those “regulations” begin to unravel by such overtly blatant (self-imposed, mind you!) changes in circumstances, it only becomes more and more insane and out of control, as one brother frustratingly (and hilariously) fights to maintain any sense of order and intent while the other non-chalantly carries on in his own little world of distractions. It’s a total stitch, filled with utter frivolity. This, for me, is the mark of smart writing and uncomplicated thinking, and born out of a desire to make people laugh and have a good time with something that doesn’t require taking anything seriously or cringing and crying “OMG! Cover the kid’s eyes and ears!!” as a whole.

Visually the film is very smoothly shot, crisp and clean, thanks to steady camera work and certainly an evident drive to look as totally professional as possible, which I greatly admire about indie filmmakers when they don’t have the oodles of funds like major studios do to produce something, much less to be provided with hyper-expensive equipment and the best of everything else to boot. There’s that heart, passion, and total purpose to work with exactly what they’re given, and even when managing to have decent levels of said elements above to work with, it never tends to feel pretentious or overly fabricated, and this is the case here, at least that’s how I personally see the quality of the production. Add in the original music score from composer David Morckel as well, and it really all comes together to ultimately provide us as the viewer with the experience we get, able to sit back and fully take everything in stride, have a solid guffaw, and relish the fact that there is so much growing talent to be found within the indie film community.

Now, comedy is also only as good as the actors delivering the lines and jocularity, as timing is everything. One of the first benefits this critic felt was immediately evident was seeing popular and highly diversified character actor Dallas White in the role of Alan Baker, the assuredly self-proclaimed “mastermind” behind the escapade that unfolds. Presenting himself with an over-the-top air of menace when the boys charge into the church, Alan does everything he can to create the atmosphere of what he hopes is fear-inducing menace in order that he and Eddy can collect their just bounty from the parishioners. Yet, as events start to go sideways thanks to some outrageously timed divergence from the plan on the part of Eddy, Alan’s sense of decorum goes with it out the window, and soon his raging and angrily dumbfounded manner towards his brother makes for some riotous moments. White excels at playing deliciously dark, unhinged characters (see him in “17 Locust Street“, folks), but here the it’s all for the giggles when he “loses it”, and throughout, White displays the character acting chops that continue to build up his resumé. It’s a treasure to watch someone so deftly portraying someone comically stupefied and unsettled, with White nailing it to a “T”.

Let’s not by any means, however, disinclude the second part of this nutty duo via Harbolic as Alan’s oafish brother Eddy, a perfectly normal and affable guy who’s most likely only ever been in trouble in his life thanks to associating with Alan and his schemes. Playing along beautifully as the robbery scenario commences, it only takes on parishioner’s unanticipated observation to throw Eddy off the game plan and begin to associate in conversation rather than criminality, much as mentioned before above to Alan’s exasperated vexation. Yet, even when Eddy tries to get back into character, the next “obstruction” occurs when he spots a certain other parishioner that not only steals his attention, but his heart along with it, again only adding to the already flabbergasted Alan’s expanding tale of woe. But, onward Eddy goes, chatting away and ruining every possible element of shock and awe the pair tried to have, even as Alan keeps on keeping on, losing more and more ground as he goes. By the time it’s all truly over, all Eddy can think about is, well, everything (and that certain someone) rather than any previously hatched strategem. He’s the perfect foil to Alan, and Harbolic’s lovable “everyman” demeanor is so well-suited for this role, wonderfully enacted all the way.

Primary supporting turns are given by Criswell, Jr. as one of the parishioners, Thomas Redding, who may just have a slight part to play in causing the redirection of Eddy’s focus at first during the robbery, Ambuehl as Marie, the REAL reason behind Eddy’s wayward concentration and off-track wanderings, Gaylor as the church’s Pastor who decides at the appropriate time that the threat they all face might not exactly be as intimidating as first thought, and Bruce Purcell as the local law, Sherriff Bell, who gets a little more to deal with on this particular Sunday morning that he expected. Additional appearances as other members of the church are provided by Darcy Miller, Lamont Richmond, Bridget Messaros, Amelia Schmotzer, Rosemarjorie Feth, Jameson Feth, Pacifica Feth, Liam Feth, Keith Custer, Sandy Custer, Shalanda Fresh, Preston Boggs, James Boggs, Drew Johnson, Becca Spivey, Daron Larson, and Ted Durda.

In total, “The Baker Brothers” is as previously advised above–a playfully vibrant slice of silliness that invokes great laughs and pure entertainment in short nine minute order and is further testament to the power short film has to charm, delight, and prove you don’t always need two plus hours to showcase creativity and future potential.

As always, this is all for your consideration and comment.  Until next time, thank you for reading!