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It’s typical of Stephens and Katz’s approach that, rather than imposing any artificial melodrama or comedy on the proceedings, they allow their characters to simply lose themselves in conversation and the pleasure of each other’s company. This willingness to linger yields one of the film’s more memorable interludes, as Janet launches into a drawn-out recap of a supernatural horror story she read recently, about a house that began to feed upon the bodies of its inhabitants — a tale that requires little to no metaphorical unpacking once Mitch later acknowledges that it gave him the creeps.
That a comedy starring two actors of a certain age will touch on its characters’ lifetime disappointments, interpersonal resentments and encroaching sense of mortality is more or less a given; it’s considerably less assured that it will cover this well-tilled territory as gracefully as “Land Ho!” does. As Mitch and Colin bid farewell to their companions and head for the interior, our sense of their individual lives deepens appreciably; we learn a bit about their failed first marriages, their relationships with their children, and particularly their professional setbacks: Colin was once a promising French-horn player who ultimately settled into an indifferent banking career, while Mitch, a surgeon, discloses that his recent retirement wasn’t exactly voluntary.
As it moves its characters toward a delightfully well-earned ending, by way of a brief encounter with a friendly hiker (Alice Olivia Clarke), “Land Ho!” strikes a near-perfect balance between indie scrappiness and mainstream polish; although written and acted along mostly naturalistic lines, it’s more than just an inarticulate mumblecore (grumblecore?) exercise. The film’s pleasures as eye-candy travelogue are delivered without pretense or apology; certainly the Icelandic Tourist Board can expect a small uptick in business following its release. But what gives the story its moment-to-moment buoyancy is the pleasure of watching two actors working brilliantly in tandem.
With only a few screen credits to his name (including “Pilgrim Song”), Nelson makes a fairly unforgettable impression as the sometimes lovable, sometimes trying Mitch, the kind of vulgarian who likes to point out the phallic subtext of geysers and lighthouses, and who thinks nothing of doling out some unsolicited marriage advice to a honeymooning couple he meets in a hotel lobby. The more veteran Eenhoorn, who came to some prominence as the star of last year’s Sundance-premiered “This Is Martin Bonner,” is no less invaluable as the more restrained, refined half of the duo who can nonetheless reveal a wild and silly side, just as Mitch at times proves capable of unexpected sensitivity.
Shot over just 18 days and completed just a year after it was first conceived, the production has a technical polish that belies its modest budget. The title tune, composed by Keegan DeWitt (who also scored the concurrent Sundance Next selection “Listen Up Philip”), is one of a handful of selections on a rousing soundtrack supervised by Nick Stumpf.
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