Full disclosure: Despite being a teen and twenty-something throughout the 90s, I only saw one episode of Friends, the sitcom the fake Life At Sandy’s show is reminiscent of. It was the original broadcast of the “Smelly Cat” episode, which I was watching because Chrissie Hynde of The Pretenders was the guest star. It was abysmal. I couldn’t identify with any of those goons, plus Hynde didn’t show up until the closing credits. I am, however, a big fan of the secret Friends Broadway musical, which only exists as the best gag ever in the classic Christmas romance Merry & Gay. I also am a longtime fan of The Trailer Park Boys, which allows me imaginary friends that my wife doesn’t have to put up with. Much. So, no, not Team Friends. But I am Team Life At Sandy’s.
Vincent (Andrew Gabriel) reaches out from the television screen in Life At Sandy’s.
“The acting in Life At Sandy’s is superior.”
The supernatural element of the sentient TV comedy in Life At Sandy’s adds the perfect dark exit to be taken from the fish out of water scenario. It is that Madman’s Curve that makes sure you will not forget tonight’s entertainment anytime soon. I don’t know if the horror would have worked as well if it had been the focus throughout, as the stunning simplicity would have been spread too thin. But with Hansen makes a genius move here, as the horror is the loose cannon element in the alienation drama the humor springs from. The lethal submersion into the cathode womb becomes an expressionistic symbol of society’s withdrawal, similar to the drug addict dollhouses on Mars in a Philip K. Dick novel. The eeriest thing is how much sense Hansen makes to just succumb to a rerun oblivion.
The acting in Life At Sandy’s is superior. Biedel is spectacular as the devil in an apron, being genuinely inviting as she lures in the latest “guest star.” Lundberg is so refreshingly pissed off that she is instantly relatable. Cunningham does a symphony of remarkable reactions across her face, worthy of a silent film star. But the true star of the show is Norway, and all of the beautiful locations featured. Director of photography Hunter Truman gives us visual compositions that should be hanging in a museum, or at least an epic coffee table book. In the final act, there is this fantastic shot of the reflections of the buildings shimmering in the water while Cunningham is on a phone call. It is one of those perfect moments that justifies film as an art form. Life At Sandy’s is an impressive debut by a filmmaker who has started off on the right weird foot. I can’t wait to see what weird path Hansen walks next.
"…one of those perfect moments that justifies film as an art form."
