Reviewed by Jon Barton

I had never seen the movie before for many reasons. Firstly I was unfamiliar with Jordi's work. Second the fourth in a series meant I would have to commit to the whole series. However, having wasted so much time not seen the first films I sat down to watch the fourth film and was compelled by its originality, stylistic atmosphere and quirky and downright accurate representations of the west both diegetically and visually. Instantly I felt guilty, then intrigued and henceforth downloaded the rest of the Stranger movies along with anything else Jordi has done with himself. Stranger 4 is categorically the undisputed winner when it comes to blending a surreal mix of comedy and gore, blended with a plot so unnecessary its amusing in itself and action more entertaining than some of 2003's actual US releases could credit. In a word, it's bloody brilliant.

The film's strengths lie in the critical element Jordi upholds throughout the movie, creativity. The film is innovative and imaginative. Hell the opening credits alone reek of this, scrolling QT style reminding me instantly of some of Rodriguez's finest moments. What makes the film doubly amusing is the fact that this creativity strolls through the narrative hand in hand with some of the best movie sight gags in a 3dmm movie ever to grace the screen, meaning that Jordi's quirkiness and fresh ideas blend seamlessly with visual mockery that succeeds in the best sense of the word in ripping it out of the movies Visser targets. For example, the Terminator is a key target in the opening (and indeed with the inspired T-1000 reference later), while Visser constantly nods to the great westerns. This isn't the first time Jordi's worked closely in movie referencing, the second Stranger movie critical of the Matrix, both in terms of soundtrack and choreography.

Speaking of soundtrack, what a soundtrack this is. True many of the tracks originate from the same movie, but using the From Dusk Till Dawn soundtrack to open and close the movie not only seems fitting but, unlike many many 3dmm movies today, actually compliments the narrative because it fits so well. Music has never been more appropriate in key moments. Coupled with the inventiveness of the barely fleshed out story (its hilarious looking at it in context, such a mall-nourished narrative crippled by a complete sense of separation from the protagonist that also fits in some irrelevant yet painfully funny humour, such as the elephant and the wardrobe full of western gowns), Stranger 4 makes for often highly satisfying viewing.

Ultimately the lack of flashed out story and although hilarious, irreverent humour weighs down on Stranger's appeal, coupled with a rather anti-climactic ending, but in all honesty I couldn't care less. The lack of plot and surrealist comedy is consistently justified. Mindlessly violent, stomach-wrenchingly funny in places and superbly animated and constructed, I see now why Stranger 4 can easily be considered one of the best movies of 2003. If ever the term "hilarity ensues" was more appropriate than when describing Visser's western, I've yet to discover it.

9/10