Sasquatch Sunset

It's a special movie that can make you laugh out loud numerous times at gross comedy and then make you think and feel something, too. There’s also something to be said for a movie that seems like the most fun these actors ever had.

Sasquatch Sunset is a gloriously vulgar film about made-up monsters from children’s stories — but it is also a terribly melancholy adult story about the violence of progress. What a remarkable, unique, sad little cult oddity it is.

Consistently weird and frequently wonderful, “Sasquatch Sunset” uses its high-concept premise to consider a host of themes: collective living, coexistence with nature, longing stirred by seclusion.

It is scatological in the extreme and filled with absurdist and slapstick humor, particularly in the early going.

The rigorous perspective solely on these mythical creatures is a daring decision––a more compelling experiment than the overdramatized recent entries into the Planet of the Apes franchise––but the end result is more commendable than dramatically captivating.

The gags seem fun and refreshing at first, but they get stale quickly. Moreover, since there is no plot and no dialogue, the quirky central idea never takes on any narrative momentum. What might have been a brilliant short subject—at, say, 15 minutes—gets stretched to its limits, and then some.

A bewildering 90-minute, narrator-less and wordless experiment that’s as audacious as it is infuriating. It’s not clear if everyone was high making it or we should be while watching it.

It's hard to review a movie like Sasquatch Sunset because there's nothing more subjective in movies than humor, and the humor of this movie is so specific, it's hard to recommend this anyone without knowing them personally. All I can say about a film like this is it did make me laugh, and I admire how unabashedly silly it is, while also being filmed remarkably well.

Weird and funny. The tone is all over the place, which makes it more... interesting? A nice experiment, nonetheless

Movies that provide us with an inside look at the lives of communities different from our own can show us just how much alike – and not alike – the constituencies of those cultures truly are from our own. It’s especially intriguing when such films cross species lines, examining societies of beings different from ourselves, an undertaking tackled in the latest project from the acting-writing-directing duo of David and Nathan Zellner. Known for such offbeat releases as “The Art of Self-Defense” (2019) and “Kumiko, The Treasure Hunter” (2014), this time out the filmmaking siblings present a documentary-style look at a year in the lives of a bigfoot family of four inhabiting the forests of Northern California. The camera follows them through a variety of everyday situations not unlike what we as humans go through, only in a totally different milieu. The film features an array of comedic and dramatic circumstances to which we can all undoubtedly relate, often on a very “earthy,” unrestrained level, involving activities in which we all engage but rarely talk about. Told in four acts, this release beautifully captures their experience of life in the woods, with exquisite visuals of Northwestern landscapes and diverse forest wildlife, along with curious, entirely natural expressions of individuals discovering the myriad elements of a world that they have come to believe is their own. But is it? As they come upon scenarios that are anomalous from what they have typically known, they must learn to adapt when evidence emerges that their world could be drastically changing – even vanishing – before their very eyes. In that sense, then, the film quietly delivers a strong environmental message (aptly timed for an Earth Day release) that we should heed in light of the unsettling experience of this picture’s unique protagonists. While the film’s sequences at times become somewhat repetitive and feature more than their share of undoubtedly base humor, this offering is nevertheless entertaining, clever and thought-provoking, enhanced by its stunning cinematography, emotive original score, and stellar makeup and prosthetics. Despite these assets, however, some have dismissively and capriciously compared this production to an extended Saturday Night Live sketch or a parody of the opening sequence of Stanley Kubrick’s “2001: A Space Odyssey” (1968). But those analogies unfairly sell this one short as a vehicle that will simultaneously make viewers both laugh and think. With an economical 100 runtime and a fine cast of actors portraying the quartet of uncannily prescient primates (Jesse Eisenberg, Riley Keough, Nathan Zellner, Christophe Zajac-Denek), “Sasquatch Sunset” makes an intriguing watch, provided that viewers give it a fair shake. Indeed, if we’re ever to reach a new level of understanding about those who are different from us and with whom we share this world, not to mention the impact we have on one another, we should make an effort to grasp what this offering is trying to tell us – while we still have the time to do so for both of us.

Surely the oddest film I'll see from 2024's new film releases will be 'Sasquatch Sunset'.SYNOPSIS: 'A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable.'It's really difficult to review this film because it's impossible to know why it even **** however odd, outlandish and stupidly funny it is at times you can't fault the filmmakers and the cast for being totally committed to a film which feels like some sort of weird fever ****'re not supposed to take this seriously as this is just four people in furry suits and a lot of prosthetics. It's daft, and plain stupid at times.I can't fault how gorgeous this film looks with the incredible landscapes stealing every shot. There's also a gorgeous soundtrack which absolutely enhances the madness you're witnessing on screen.'Sasquatch Sunset' will not be a film for everyone, it's certainly not a film I'll ever return to.Oddly entertaining but it feels like an extended SNL sketch. And not for the better.5/10

Off we go to the Pacific Northwest where we follow along of hairy cryptids known as Sasquatches. We travel with an Alpha Male (Nathan Zellner), Female (Riley Keough), Male (Jesse Eisenberg) and Child Christophe Zajac-Denek) as they go back their day to day activities trying to survive and deal with isolation and the encroachment of Man. I knew going into this film I wasn't going to see the next Citizen Kane or Godfather. What I did watch was a Jack Links commercial written by Seth MacFarlane with a little Johnny Knoxville thrown in. It did have some funny scenes and an occasional heartwarming scene or two. But this was overshadowed by such lewdness and an infatuation with bodily functions. They really dropped the ball in my opinion they should have made like a Mockumentary and played into the things that so called Bigfoot hunters claim Squatches do. The Zellners should have watched the Travel Channel for a day or two. Overall I was disappointed in this film.