Sword of Trust

Sword Of Trust is one of the most well-written and acted comedies I’ve seen in quite some time and definitely the best I’ve seen so far this year. It has a high absurdity factor but simultaneously the set, costume, and production design is so life-like, you willing go along for this truly weird adventure that really only could happen in the south.

It’s a pleasure to see Shelton in her element again, guiding actors to places that feel unexpected yet authentic. Maron is an ideal match for her sensibility, and they make terrific scene partners, too. May this be the start of something special.

Sword of Trust has a dogged weirdness all its own, a singularity that extends to Maron having written the excellently jangly score. When was the last time you saw — or heard — a movie where the star composed the music? It’s just part of the its-own-world quality of Sword of Trust.

As with all of Shelton’s improv-inspired movies, the plot offers plenty of interest but the personalities provide the purpose.

The movie’s lightweight plot yields a disposable comedy with a lot on its mind, but its modest ambition is just enough to let Maron push his onscreen appeal in a new direction.

Marc Maron’s commanding aura of regret gives the film, despite its missed opportunities, an emotional center.

Sword of Trust feints at being an Ideas movie, but really only wants to hang — which is certainly not a crime, but given the subject matter, and These Times, it’s a little disappointing.

Sword of Trust is a decent enough film, featuring recognizable actors from a myriad of TV shows and using deadpan improved humour. Overall it works despite its simple plot that doesn't really go very far.

A woman travels to Alabama to get what's left of her grandparent's estate. Her only inheritance is a sword that may have ended the Civil War in the South's favor (as a group of conspiracy theorists believe). She and her wife visit a pawnshop (run by Marc Maron) and the low-key misadventure begins. The cast is full of familiar faces and they do an OK job with what feels like lots of improvised dialogue. If it isn't, then co-writer/director Lynn Shelton didn't make the interactions sufficiently interesting to provide a fulfilling experience. There are elements of quirk in its low-budget approach that hold promise and make it mildly appealing