Reviewer's Bias*
Loves: Stylish filmmaking, Indie films
Likes: Navel-gazing stories
Dislikes: Gimmicky filmmaking, Sadly, these filmmakers
Hates:

The Movie
From the title, poster and limited background materials for this film, I couldn't get a firm grip on what I was going to be watching. The only thing I was certain about, was that this wasn't going to be your usual mainstream movie.

Once the title was quickly explained, a few minutes in via a voiceover, my certainty waned, as I felt a very traditional lament about romance and relationships and the meaning of life unfolding before me, not unlike the premise of the phallus-wielding Kissing on the Mouth. But then, the camera takes some unique and interesting perspectives that regained my trust and didn't squander it by telling the tale of what happens when creativity is used as a defense mechanism to protect young artists in love.

While I can appreciate the beauty of a long, lingering take or a meticulously crafted frame, there's something to be said for a filmmaker who gives his camera a personality of its own, and lets the media carry as much weight as the message. When you do that, as Arin Crumley and Susan Buise have done in this movie, you get a film that has the imagination of a college experiment, the energy of a (good) documentary and the artistry of a multimedia installation. The use of DV cassettes, animation, MySpace, and more to illustrate the artificial boundaries we erect and what they could be like in the hands of a gifted creative mind does more to advance this story than even the best dialogue could attempt.

I've heard the songs of Sigur Ros labeled as tone poems, and I'm not sure what that means, but damn if I'm not tempted to call Four Eyed Monsters a cinematic poem. There's something utterly beautiful about the cat and mouse game the characters play with their hearts, and though you can't quite rhyme with scenes, there's a rhythmic construction to the film that flows forward with momentum and purpose.

The only thing I had a problem with, with this film was just how meta it might be. If you check out the extras and the web site and everything that's associated with this movie, it seems that the movie is intended to be autobiographical, chronicling the odd modern-times relationship the creators have or had. This really wasn't a problem until I dove into the incredible amount of supplemental creative energy the duo burn off at any chance, but considering how connected they are to their art, its hard to judge the film on its own. It's more like the main course in a multimedia buffet. Just make sure you know when to stop gorging, before you get ill.

The DVD
Packed in a standard keepcase, this DVD has a static, anamorphic widescreen main menu, with options to watch the film and check out the extras. There are no scene selections, no audio options, no subtitles and no closed captioning.

The Quality
The anamorphic widescreen transfer is very nice, with good color and an overall solid image. The level of detail isn't as high as on your usual studio DVD, and isn't helped by the variety of techniques and materials used in the film. There are better looking films out there, but the look helps sell the realism of the film. Some scenes, like the animation, are gorgeous, and no obvious dirt or damage can be seen.

The audio comes in a Dolby Digital 2.0 track that features clear dialogue and some nice strong music, without any distortion. There's nothing that stands out about the mix, but it's good all around.

The Extras
There's more bonus material here than most people will have the time or patience to sit through, starting with the excellent video podcasts that tell the film's backstory. Done with the same style and skill as the film, these eight segments, 63 minutes in length, are nice bite-sized stories that work well in combination with the film in expanding the story. Supposedly, there are four more episodes to come, but you get the first eight here.

If you want more of Crumley and Buice, you can get 60 more minutes of video blogging, mostly in the form of now-dated news updates about the film. It was during this set of clips that I began to burn out on these imaginative filmmakers, and started to dislike them. Perhaps spending over three hours in their company was just too much for me. Creative types can be a bit tough to settle down with.

Along with some trailers and EPK material, the DVD has two video blogs by Crumley on the topic of Net Neutrality. Now, I like a free and open Internet as much as anyone, but boy, this guy takes the concept way too heart, a result of how important the net is to his work. Prepare for some douche chills, but the 15 minutes you spend watching these pieces will fill you in on this somewhat nebulous topic.

The Bottom Line
If the way a film looks is what you look for first, this movie is right up your alley. If you ever wanted to feel what it's like to date a bohemian artist, have a seat. If you want to see what truly independent filmmaking looks like, you've found the right place. Four Eyed Monsters runs the risk of becoming annoyingly artsy, but manages to tiptoe along the edge of oblivion, checking in with 70 minutes of entertaining film, with the potential for something great in the future. The DVD looks and sounds as good as you're going to get in this budget range, and the extras are plentiful, creating the first time I'd ever thought that maybe there's too much bonus material on a disc. The audience for this film will seek it out, looking to fill in the gap between the next Tom Twyker film and Netflix's delivery of La Jetee, but they will be rewarded with something fresh and new. For the other viewers, there's got to be a new Jessica Simpson movie or National Lampoon direct-to-DVD on Blockbuster's shelves.

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*The Reviewer's Bias section is an attempt to help readers use the review to its best effect. By knowing where the reviewer's biases lie on the film's subject matter, one can read the review with the right mindset.