Hammer to Nail Review: The Becomers

Writer/director Zach Clark (Little Sister, White Reindeer) returns with his fifth feature film, The Becomers– a unique pandemic-era allegory with notes of Jonathan Glazer’s Under the Skin, Jim Jarmusch’s Only Lovers Left Alive, and The Coneheads.

When an unnamed alien couple (called X and Y in the script) evacuate their dying planet for the refuge of earth, they are separated, and must enact unimaginable horrors to assimilate to their new surroundings and ultimately reunite. Aided by the universal trauma of the 2020 global pandemic, Clark fits a lot of context into a tight ninety-minute story. The result is an impactful, at times grotesque, occasionally comedic, and wholly romantic depiction of what it takes to regain a sense of normalcy and contentment after losing everything you once knew.

Differentiated only by the color of their pupilless, glowing eyes, X and Y utilize a technology invented by their planet’s scientists, to assimilate on Earth. Unfortunately, in involves stealing the body of a human, at the cost of their life. Worse still, the effect is only temporary, resulting in a string of unwitting deaths in the name of their own survival. They just happen to land in the Chicago area during the uncertain, mask-filled, social-bubble era of our recent past. This timing has its advantages and disadvantages.

The plot unfolds organically, with a voiceover (from Russell Mael of the band Sparks) metering out the events that brought the couple into this predicament. The narrator continues revealing the backstory throughout the present narrative. We learn a bit about the culture of their former lives, and this is where the Coneheads comp comes in. It began with a blind date over “squash steak wraps and black drink” before the couple “connected pods” and made a life together. “There were signs of things to come – the news was strange, scary, yet our little lives were as normal as ever.” They describe a rather familiar set of events that result in their own global crisis, and ultimately, a complete planetary evacuation to save their species…

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H2N Review: Little Sister

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Zach Clark’s follow up to 2013’s White Reindeer, shares plot points with some rather trite films. In Little Sister, Addison Timlin plays Colleen, a woman in her early twenties who returns to her childhood home and her troubled, semi-estranged family in order to tie up emotional loose ends before making a major life change. If this were a Cameron Crowe or Zach Braff joint, the protagonist would meet a manic pixie dream person, dance quirkily to indie music, and do something cathartically impulsive, all while falling in love with said pixie. A blow-up with family members would trigger a revelation about her impending life change, and she would rejoin her life-in-progress with renewed hope and a new relationship basket containing all of her eggs.

Fortunately, Zach Clark is neither a Braff nor a Crowe. His protagonist, once a full-fledged Goth, has rebelled against her troubled family by joining a convent. She is only one rite away from cementing her lifetime commitment to God. Because of Colleen’s cultural roots, the soundtrack contains barely an acoustic guitar or crooning sad sack (we’re instead, serenaded with deep cuts from Gwar). Better still, because of Colleen’s vows, there is no manic pixie anyone. Colleen interacts only with her parents, her childhood pal, and her older brother, Jacob (Keith Poulson). Jacob is an Iraq war vet who recently returned home after an explosion disfigured him and fried his lungs. Colleen’s stoner parents are the ones doing most of the drugs…

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