Following in the footsteps of Laurel and Hardy, Jake and Elwood, Raoul and Dr. Gonzo; Lionel and Tin are on an ill-fated but well scripted journey into the depths of the American psyche. Recently escaped from Trinity Psychiatric Center, an alternative institution for the wayward, the pair hits the road on a mission from God. Appearing in the form of aged cowboy named Don, the Almighty enlists Lionel and Tin to inscribe the Last Commandments in order to save the world from its ultimate destruction; rumored to be soon. Plagued by their own madness they begin to uncover their own dark past which might ultimately lead to their undoing, or at the very least, a serious re-write.
The bottom line: An experiment in psychedelic indie road-trip filmmaking that s sure to provoke thought, but that s also bound to confuse, disorient, and maybe lose you on the way. From the moment ibid starts, you can tell you re in for a different kind of film. And it doesn t even have wto do with the slow-moving march through Trinity Psychiatric Center as we follow a stern-eyed, pigtailed nurse past all varieties of mentally handicapped patients. I think it has more to do with the subdued, drab color palette, and the general blankness of the mise-en-scéne. There s a lot of white and blank space around the characters, a lot of emptiness that surrounds them, both inside the hospital and out. The movie is, in a way, a blank canvas that invites you to paint your own picture into its road-trip narrative about escaped mental patients trying to inscribe new Commandments. It counts on you to fill in the blanks of its own implicit emptiness, and derive whatever meaning you think is appropriate. --Ulises Silva, Quiet Earth