The most successful web-stream films, of course, are made with the format in mind. American film-maker Evan Mather’s work, such as Icarus of Pittsburgh, is a good example: densely packed with visual and aural information, his films seem made to be watched intently, in isolation and cocooned by headphones. – Sight & Sound

Cinema has Spielberg, television has Bochco, and – thank the Lord – webfilm has Evan Mather. Every medium needs a practitioner who can play to its unique strengths and streamed video gets that in spades with Mather. His work runs from lovably lo-fi animation to this experimental black comedy, about two brothers determined to prove that the Apollo moon landings were faked. – Guardian Unlimited

You would probably expect a collection of shorts with titles like Buena Vista Fight Club, Les Pantless Menace and Booger to be a little on the offbeat side, but even so, this set of recent works by animator/filmmaker Evan Mather often proves downright inscrutable. Those expecting straightforward parodies of the “Swing Blade” variety are likely to be disappointed, but adventurous viewers will be rewarded with a cutting-edge mix of traditional stop-motion animation and digitally-tweaked weirdness. – Film Threat

A series of shorts that combines the Star Wars mythos with stop motion action that recalls the Rankin/Bass Christmas specials … the imaginative parodies involve outlandish comedic situtations and a host of Kenner aciton figures from the space saga … Mather’s more trenchant and witty films [includes] the exuberant and gloriously sleazy animated short Fansom the Lizard and the live-action subversive conspiracy piece Airplane Glue. – IFC Rant

While most fan films are relatively straightforward homage, Mather’s movies are strikingly original, charmingly amateurish and defiantly noncommercial. – Wired News

Certainly, Mather’s filmography runs the gamut: animation (Fansom the Lizard, 2000), music videos (Aimee Mann’s Red Vines, 2001, and Pavlov’s Bell, 2003), live-action narrative films (“The Trilogy of Tragedy”, 1999–2003), documentaries (A Fool’s Errand, 2004), bizarre portraits of both himself and his collaborators (Clowntime is Over, 2003), open source projects (Agave, 2001–present), fan films (Quentin Tarantino’s Star Wars, 1998, et al.) and even a digital take on the Dogme95 manifesto (entitled Dogma 2.0) can all be found within the ever-expanding borders of his bizarre, irreverent and strangely intoxicating cinema. – Senses of Cinema

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