Alison Martin
In the year after graduating college, Izzy struggles to navigate the seemingly incessant failures of adulthood, the reality of a substandard dating pool and a debilitating fear of top-sheets, all in between X-Files marathons. Comically unsuccessful in love over the course the year, including five half-hearted relationships with astoundingly self-centered men, Izzy resigns herself to the support of her mother and sister, who are struggling with their own relationship problems. Seeing herself in them, Izzy gradually gains the confidence to be honest and vulnerable.
THE LOST SKELETON RETURNS AGAIN takes on a whole new series of clichés, primarily drawn from those low budget adventure epics -- rich in potted ferns and stock footage -- that thrived on cheap back lots from the early 30s to the late 50s. It also wanders beyond the narrow confines of jungle pictures, parodying everything from gangster movies to those Mondo films of the 1960s, with their salacious native dances.
In the 1930s the family of old Sinas Cavinder, gathered for the reading of his will, find themselves being murdered by a mysterious phantom while two rival reporters compete for the story.
The camera focuses up close on a series of unnamed women as they talk to their men. In every case, even though we don't hear what the men are saying, we know exactly what line and lie they're pitching. The women, who are desperate for affection and a relationship, apologize, bend over backwards to accommodate, cooperate with every male fantasy, tolerate every male insecurity, ignore infidelities, and pick up the check.
