John Mitchell and Jeremy Kipp Walker’s THE HISTORY OF FUTURE FOLK has been billed as (probably) the only alien / folk duo / science-fiction / action / romance / comedy movie ever made. It’s difficult to argue with that assessment, because it may be the most accurate description of the film you’re likely to find. After all, this is a movie where a duo of intergalactic space travelers come to Earth bent on its destruction, discover music and decide to spare the human race – all while developing a cult following as the bluegrass / folk duo, Future Folk.
If any (or all) of that sounds appealing to you, you’re certainly in for a treat. THE HISTORY OF FUTURE FOLK is a silly, absurd film, but its idiosyncrasies work in its favor, creating a rare level of charm. From the delightfully catchy musical numbers – there are several – to the goofy-to-the-point-of-endearing sense of humor, it’s difficult to ever peg the film down into any one category. And at an extremely brisk 86 minutes, it never has a chance to wear out its welcome. Mitchell and Walker continuously evolve the story in new directions (and genres) over the course of the movie, and by the time we reach the finale, it never feels like it’s had a chance to repeat itself.
It’s noteworthy that the filmmakers choose to fully stick to their guns when it comes to the premise’s absurdities. There’s a lot of camp value inherent to these kind of stories, and they never resist putting it all up there on the screen – from the set decoration to the costume design, this is an indie comedy for the DOCTOR WHO crowd. Similarly, it should be acknowledged that the film never takes the easy way out, especially given its classic “fish-out-of-water” set-up. It dabbles briefly in milking humor out of initial alien-human interactions, but it’s all in the service of character development, and it never allows itself to descend into cliché sight gags and scenarios.
The film is not perfect, however. Its narrative is unambitious, though pleasingly so, and some of the sequences have quite obviously been included in order to tick off another genre, rather than because they organically evolved out of the story. But these are small nitpicks in an otherwise delightful story, and the writer / directors earn such huge points for originality and creativity that its hard to focus in on any of them. Really, this is just a very sweet film about connecting with other people (even if those people are actually aliens), whether that connection be through music or love. And even in spite of its goofy tone, Mitchell and Walker manage to pull off a surprisingly poignant ending – one which feels fully earned and emotionally resonant.
This is one of those rare properties that is just dripping with possibility. Much like the similarly eccentric Flight of the Conchords, Future Folk have the potential to expand into all kinds of different areas. In addition to the film, there’s already an album of music available online, and – given the right level of exposure – I could see a whole cult-following springing up around them. And deservedly so.