TATER TOT & PATTON: Comfort In Catharsis

Tater Tot & Patton by writer/director Andrew Kightlinger steeps itself in quiet suffering, clueing the viewer in when needed, even when done with a subtitle nod. The build is slow, yet structuring the narrative erratically from scene to scene through effectively choppy editing, though the final result works.

Jessica Rothe plays Andie, a bratty college student sent to live on her Aunt Tilley on a South Dakota ranch in lieu of rehab for some past indiscretions. Greeted by her curmudgeonly alcoholic uncle-through-marriage Erwin (Bates Wilder), Andie finds out Tilly has gone for cancer treatment and will not be home anytime soon. With nothing else to do in the desolate environment, she reluctantly joins in tending to the ranch with Erwin while dealing with both of their broken lives.

A straight forward premise, indeed, but the lack of hand holding in the screenplay makes the experience a more satisfying one.

Napoleon Dynamite, This Is Not

Some have compared this to 2004’s Napoleon Dynamite, mostly due to the producer credit. Other than the vast uninhabited American landscape, the feel could not be more different. Napoleon and his family were comic characters pushing forward a lighthearted plot while being weird for weird’s sake. Tater Tot & Patton deals with raw emotion within the backdrop of the lonely heartland.

The almost paused day to day monotony proves to be a pristine and oddly calming setting for the drama to unfold, leaving everyone alone with their thoughts in order to bask in the unfettered lack of modern distractions the likes of smartphones and streaming entertainment. Which leaves me in the quandary of whether or not to refer to the film with the hip abbreviation TTaP in the sake of efficiency, though I’ll try to use it sparingly.

The film is not a straight forward narrative with its jarring editing. This is in no way a slight, rather as a nod to the unorthodox. This unsubtle touch helps feed the notion of just how fragmented these characters are. Taking some getting used to, the effective style definitely leaves one off-kilter when the time comes for an existential reveal by one or more of the leads.

You May Never Eat Beans Again

There are lightheartedly funny moments given the heavy subject matter leaving the gags to play as a subtle ruse and later a coping mechanism for the audience. Comedy comes in drip and drabs, mostly when Rothe and Wilder get to take their roles for a walk to charming result. The refreshing part of this venture came from the dynamics between Andie and Uncle Erwin. Where most novice filmmakers might throw in a “creepy uncle” trope for the sake of tension, TTaP doesn’t fall into such theatrics and clings fast to its mission. Giving you enough to think about, the film respects the audience enough to keep it simple in the long run.

Now on a lighter note: Foodies, be warned. This film is not for the weak stomached and the diet portrayed within is abominable. Respect to the stars for having to ingest some of the most heinous conditions put to screen in the name of comedy. Props, however, to the variety of very decent the brands of beer found in the middle of nowhere South Dakota displayed throughout.

Fish Out Of Water. Aren’t We All.

At the start, we are told this is Andie’s story and the film is crafted around this notion. Instead, her life reflects back in the men she meets on the ranch, bringing her to an understanding of why she is in her present predicament. Uncle Erwin represents her substance abuse taken to excess. Forrest Weber as Richie, the sweet-talking love interest, relays insight into her past relationships all the while giving her a second chance at navigating situations reminiscent of life back home. Andie, all things considered, becomes the voice of reason near the end given other people have become emotional roadblocks in the story. This dynamic works well to infuse the character with a likeability not found in the callous adolescent she started out as.

The subject matter is heavy but tries not to weigh down the tone until absolutely needed. The chemistry between the cast is excellent. Everyone leaves enough on the table in each scene without telegraphing their intent in a hokey way. Films dealing with substance abuse often try to become sweeping narratives about falls from grace and redemption with a melodramatic ballad playing over the end credits. Tater Tot & Patton doesn’t play by those rules. Instead, we are given an odd, slow burn with endearing performances and a lesson to be learned.

Have you seen Tater Tot & Patton? What did you think? Let us know in the comments below!

Tater Tot & Patton was released for streaming on May 14, 2019. For all international release dates, see here.