“Skinamarink,” which the director Kyle Edward Ball made on a budget of about $15,000, entirely in his parents’ house, is strikingly original but seemingly unfinished, tnyfrontrow writes.
,” and it gets an even more vigorous and troubling workout in “Skinamarink,” the extraordinarily original first feature by Kyle Edward Ball. Ball displays a distinctive sensibility that’s intrinsically related to the experience of horror itself, but he forces it into the confines of a familiar horror story in which he displays little interest or confidence.
“Skinamarink” presents a kind of objective subjectivity: an audiovisual representation of states of mind, even of memories, which are grafted onto a dramatic framework that’s a horror-film standby.
Though the action appears mainly in hints and traces, in its results rather than its causes, the movie’s strangest, most unusual motif involves the children’s main source of entertainment: cartoons, mostly black-and-white, seemingly from the nineteen-thirties, which play on a TV in the living room by way of a VHS tape. Snippets of those cartoons’ soundtracks turn up—often fragmented or hauntingly distant—throughout the movie.
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