Had anybody told me that Werner Herzog would star in and co-write a film directed by the screenwriter who brought us X2, X-Men: The Last Stand, Last Action Hero, Inspector Gadget, Elektra and The Incredible Hulk, it is likely that I would have silently turned and walked away.
But here it is, a collaboration between big-money Hollywood writer Zak Penn and one of the world's few truly independent film-makers, the irascible and intense Werner Herzog. And what is this film about? The film lampoons Herzog, Penn, and film in general by posing as a documentary about Herzog making a documentary about the Loch Ness monster. Aside from Nessy herself, and the bizarre cast of characters Penn puts together with or without consulting Herzog (e.g. Kitana Baker is hired to play a sonar technician in a red white and blue bikini, for example), the film comedically plays upon the cliché relationship between director and producer.
Some of my fellow reviewers have described this film as a hybrid of Blair Witch, Cloverfield, The Last Broadcast, etc. From my perspective, this film is more closely related to Herzog's Wild Blue Yonder, David Lynch's Inland Empire, and Robert Altman's The Player.
Playing himself, Herzog is a familiar character to most serious film watchers. Penn, however, is a bit of a wildcard. He is producing Herzog's Loch Ness Monster deconstruction, he says, because he wants to become a more credible and respected film-maker. And yet most of what he does throughout the film shows him to be epically incompetent and more interested in salesmanship than authenticity. Just as the comedic aspect of the film's central conflict reaches a crescendo, reality itself makes a guest appearance, in the most unlikely form imaginable.
Herzogians will 'get' this film. Fans of Zak Penn might not, as it does not fit anywhere within the context he has established for himself so far. If Zak is good enough for Herzog, then perhaps I need to pay a little more attention to him in the future.
Incident at Loch Ness is not exactly hilarious. Instead, it is a rather low-key, high-brow, comedy. The film plays with typical Herzog themes, but, as a light satire, never reaches the depth and detail of his usual treatments. Herzog fans will recognize some of the playfulness of Wild Blue Yonder in this film. Incident at Loch Ness also plays nicely upon the many documentaries that have been made about Herzog himself, his methods, and his relationships. Penn does a particularly good job of centering the film on Herzog (who is such an intense, charismatic and interesting person that it would be difficult to do otherwise) without making a Herzog film, or even letting Herzog dominate the film. Furthermore, and improbably, Penn's film is entirely coherent and well-paced. The documentary feel is very well achieved, although the film is so clearly fictional that suspension of disbelief is required, especially after the first half of the film. The acting, especially by the many non-actors that compose most of the cast, is terrifically sincere and very credible.
Recommended for Herzog fans, and people who enjoy Hollywood reflexivism and self-parody.
But here it is, a collaboration between big-money Hollywood writer Zak Penn and one of the world's few truly independent film-makers, the irascible and intense Werner Herzog. And what is this film about? The film lampoons Herzog, Penn, and film in general by posing as a documentary about Herzog making a documentary about the Loch Ness monster. Aside from Nessy herself, and the bizarre cast of characters Penn puts together with or without consulting Herzog (e.g. Kitana Baker is hired to play a sonar technician in a red white and blue bikini, for example), the film comedically plays upon the cliché relationship between director and producer.
Some of my fellow reviewers have described this film as a hybrid of Blair Witch, Cloverfield, The Last Broadcast, etc. From my perspective, this film is more closely related to Herzog's Wild Blue Yonder, David Lynch's Inland Empire, and Robert Altman's The Player.
Playing himself, Herzog is a familiar character to most serious film watchers. Penn, however, is a bit of a wildcard. He is producing Herzog's Loch Ness Monster deconstruction, he says, because he wants to become a more credible and respected film-maker. And yet most of what he does throughout the film shows him to be epically incompetent and more interested in salesmanship than authenticity. Just as the comedic aspect of the film's central conflict reaches a crescendo, reality itself makes a guest appearance, in the most unlikely form imaginable.
Herzogians will 'get' this film. Fans of Zak Penn might not, as it does not fit anywhere within the context he has established for himself so far. If Zak is good enough for Herzog, then perhaps I need to pay a little more attention to him in the future.
Incident at Loch Ness is not exactly hilarious. Instead, it is a rather low-key, high-brow, comedy. The film plays with typical Herzog themes, but, as a light satire, never reaches the depth and detail of his usual treatments. Herzog fans will recognize some of the playfulness of Wild Blue Yonder in this film. Incident at Loch Ness also plays nicely upon the many documentaries that have been made about Herzog himself, his methods, and his relationships. Penn does a particularly good job of centering the film on Herzog (who is such an intense, charismatic and interesting person that it would be difficult to do otherwise) without making a Herzog film, or even letting Herzog dominate the film. Furthermore, and improbably, Penn's film is entirely coherent and well-paced. The documentary feel is very well achieved, although the film is so clearly fictional that suspension of disbelief is required, especially after the first half of the film. The acting, especially by the many non-actors that compose most of the cast, is terrifically sincere and very credible.
Recommended for Herzog fans, and people who enjoy Hollywood reflexivism and self-parody.