Good Company Two
What is the dimension that is beyond ”sick”? If “sick” is the pinnacle accolade and as skiing is seen as a sport of progression where intentions are aimed at furthering the last move made, then it seems to flow that our language should reflect that tendency. So I ask you, what is beyond “sick” because whatever it’s called, Tom Wallisch’s Good Company Two is its abstract; the skiing in this film personifies that next level. This is beyond “sick”.
In a love letter to the City of Boston and Wallisch’s home resort (where he grew up) at Seven Springs near Pittsburgh PA, GCT’s fluid shots capture exquisitely spectacular rails, walls and drops. This crew plays these settings like the great jazz bands of the thirties where virtuoso musicians would rip through head arrangements, each one contributing to the feel of the piece and by working together cause the whole work to transcend any expectations the audience may have had. You get wizards like Joss Christensen hitting industrial park rails to burnish his Olympic Gold with great street cred. Tim McChesney, never failing to impress, kills it here. And then the man in the lead, whose skiing style has informed pretty well everyone in GCT as well as legions of park rats everywhere, Tom Wallisch – well, what else can one say? It’s Tom Wallisch; he’s beyond sick.
Hats off to Level 1 alumnus Kyle Decker (who worked with TW on 2013’s The Wallisch Project as well as Tanner Hall’s The Lost Season) and AJ Dakoulas for getting this all down with an inventive use of drones and smart, quick edits. The big air sequence at the end thrills, even if it is reminiscent of something out of a Field Productions ski movie with Filip Christensen’s penchant for a dreamy pop underscore (in this case Tei Shi’s “Basically”) and overhead shots of the skiers in full flight. But, whatever, it doesn’t detract. Lastly, the soundtrack is totally on point with a selection of high quality, vibey, indie tracks that put a nice polish on all this. By Mark “The Attorney General” Quail