Earl Lynn Nelson     Paul Eenhoom


 I expected this film before I saw it to be rather ho-hum; but it is worse than I thought.  Conversations are insipid, jolted by obnoxious comments on the part of the character Mitch (Earl Lynn Nelson).  I kept waiting for scenic vistas of Iceland—for which the film has also been praised—that were breathtaking, but although there are some nice shots, I have seen many more spectacular scenes in documentaries about global warming.

 Probably the hardest to take in the film is Mitch, whose favorite (only?) subjects are women, sex, and stories about the past.  His accent becomes very tedious over time, and although he is supposed to be from New Orleans, he doesn’t have the much more pleasant tone that is characteristic of that area of the country. Mitch’s friend Colin (Paul Eenhoom)—whom he has coerced to go on this trip to Iceland with him—can be appealing, has a pleasant British accent, and at least knows how to talk respectfully to others without inserting himself into every question.  

 Almost nothing at all happens in the entire film Land Ho.  The two men travel around against the backdrop of Iceland, meet up with a few women, and having boring conversations about anything mundane.  Mostly, they talk about the past, but even then do not go into any depth that would provide interest.  From time to time, they hint at something that intrigues a bit, but they never go any farther with the details, so the moment is lost.  I had to smile when they were at an elegant restaurant that serves gourmet food.  The waiter describes dishes that are unusual and probably very tasty, but the camera zooms by; we do not see the food or hear very clearly what the waiter is saying.  Nor do the characters discuss it.  Again, the filmmakers let a potentially enjoyable moment pass by.

 I wonder what the filmmakers had in mind in producing Land Ho.  The dialog is even less interesting than one would hear eavesdropping on the conversations of fellow diners in any small town in America, the music (Keegan DeWitt) is forgettable, and the cinematography (Andrew Reed) underwhelming.

 Oh, so tiresome!  

Grade:  D  

By Donna R. Copeland