The Incomer Review: A Quirky Sundance Comedy with Mixed Results
Domhnall Gleeson, Gayle Rankin, and Grant O'Rourke star in The Incomer, a film that premiered at the Sundance Film Festival. Directed by Scottish writer-director Louis Paxton in his first feature, this aggressively quirky comedy attempts to blend absurdism with heartfelt themes, but often struggles to find a consistent tone.
An Isolated World of Myth and Mischief
The story revolves around two siblings, Isla (Gayle Rankin) and Sandy (Grant O'Rourke), who live on a remote Scottish island, completely cut off from modern society. They believe they are descended from gulls, acting out bird-like behaviors with flapping and squawking, which sets the stage for a debauched fairytale atmosphere. From the opening scenes, where they beat sacks labeled "incomer" with clubs, Paxton establishes an off-kilter humor that can feel alienating and overly twee.
Isla and Sandy, orphaned and left to fend for themselves, exhibit childlike mannerisms—brutish, blunt, and emotionally stunted. Their isolation has led them to blur the lines between reality and myth, entertaining themselves with animated pencil sketches narrated by Isla about gull ancestors and selkie-like creatures. However, these elements, including a cringeworthy selkie portrayal in a wetsuit, often detract from the narrative rather than enhance it.
Domhnall Gleeson's Charming Intervention
Enter Daniel (Domhnall Gleeson), a local councilor sent to evict the siblings by his manipulative boss, played by Michelle Gomez. Gleeson, fresh from his role in The Paper, brings his signature milquetoast middle-manager charm to the role, using a smartphone as "wizard powers" to subdue the bewildered islanders. His adaptation of tales like The Lord of the Local Authority helps him slowly gain their trust, sparking moments of genuine connection.
The collision between feral island life and bureaucratic apathy generates some engaging sparks. Sandy, portrayed by O'Rourke as a lovably doltish character, forms a quick bond with Daniel, leading to amusing interactions. Meanwhile, Isla's defenses gradually soften in scenes with Daniel, offering sweet reprieves from the film's more jarring quirks. Cinematographer Pat Golan captures the island's lush beauty, adding visual depth to these moments.
Struggles with Tone and Humour
Despite these highlights, The Incomer frequently falters. The joke of the siblings' ignorance—such as their bewilderment at electric toothbrushes—is repeated to the point of feeling insulting, overshadowing potential insights into modern disconnection. The film veers into dark punchlines and childish humor, including a climactic swing toward violence and a "maybe I AM weird" speech, which may alienate some viewers.
While the screening elicited guffaws from some audience members, indicating a niche appeal for its blend of absurdism and sentimentality, others might find the cutesy hijinks off-putting. The film's attempts to address trauma and empowerment often feel shoehorned, disrupting the flow of an already uneven narrative.
Final Verdict and Festival Context
The Incomer is a film of contrasts: charming performances by Gleeson and O'Rourke clash with an overly twee and unfunny core. It explores themes of human connection and snap judgments, but these messages get lost in a deluge of quirky bits. For those who appreciate its specific brand of humor, it may offer a winsome experience, but for others, it risks feeling like a missed opportunity.
The film is currently screening at the Sundance Film Festival and is seeking distribution, positioning it as a curious entry in this year's lineup of indie comedies.
