Snakeskin (2001)

Gillian Ashurst's films are generally characterised by fetishistic use of kitchy character images from sci-fi, the wild west and 1950s pin-ups. It's anchoring, but can come across as objectifying and seems to contribute to a lack of plot.Snakeskin does not entirely diverge from the kitchy character theme but definitely has a tight plot with good momentum. The main characters are believably drawn, although they're not particularly likeable.The acting in Snakeskin varies. Oliver Driver is brilliant in a challenging role as a skinhead. Melanie Lynskey tends to overact somewhat, and Dean O'Gorman at his best, although this is not saying much. The "comic relief" characters, the local ice-cream van drug vendors, are both annoying and extraneous to the plot.There are some very well executed sequences and ideas, for example the grief caused to a family by a fatal car crash, the CGI section when one of the characters is tripping on LSD and a tender moment shared between a skinhead and women's underwear. These snipets in themselves give an idea as to the diverse tone of this film.Snakeskin is an interesting development for Ashurst as a filmmaker, and worth a watch, although more in the sense of 'fun' than 'challenging'.

I so wanted to like this movie, my sister was Melanie Lynskey's body double, but sorry sis you were good, the movie sucked. I didn't like or hate any of the characters, finding them bland, one-dimensional and sadly unengaging. The portrayal of the American drifter was right passed cartoon and into offensively stereotypical. Snakeskin does nothing new or even well, the comedy that should help lift the story is limp and unsatisfying. The whole thing is like a slow drive to nowhere with the kids fighting non stop in the back of the car. Are we there yet? When will it end? Spoilers- other than actually paying to see the movie.The writer Gillian Ashurst may think getting F***ed in a toilet by a stranger is very exciting and everyone's secret fantasy but. yawn, is this crap really the best she could come up with? I was glad when one of the main characters put the gun in his mouth and died. One less source of weak inane drivel to listen to and I felt relieved because the movie must nearly be over. wrong it just kept going on and on. and even then the end was not worth the wait.

Superb acting and cinematography compliment a fresh writing style that skillfully guides us through this modern-day "Alice in Wonderland" set in New Zealand. Lynskey especially takes us on an ultra-realistic joy/horror ride, as the subtle changes in her character hook us almost subconsciously, and before we know it, drag us forever down the rabbit hole, screaming for more!

New Zealand movies have a knack for being slightly 'quirky' and this film is no exception. The characters are somewhat enigmatic, the scenes are at times surreal, and the plot is suitably 'dark'. Unfortunately, "Snakeskin" is unable to live up to its premise, and the viewing experience is somewhat unfulfilling. However, this is not to say that the film is without its good points: Firstly, the cinematography is absolutely breathtaking and showcases the beauty of Southern New Zealand; secondly, the camera work is extremely effective (especially in the first half) thus adding an element of intrigue; and thirdly, the acting is slick and well-polished (in particular Melanie Lynskey and Oliver Driver).Despite its good intentions, "Snakeskin" does not run as smoothly as it ought too. The first half of the film runs like a typical road movie, and this is reinforced by the use of humour and brisk action (car chases etc). The second half of the film takes a dramatic change however, and veers into thriller territory. The scenes become darker, more complex, and more serious. I found this shift in genres quite distracting, and it made the film increasingly difficult to comprehend. Obviously, the snake motif plays a central part in the film, but this is undermined by the 'twilight zone' treatment it receives in the latter stages. Ultimately, I think the film would have been more effective if it stuck to a simpler story-making formula.