Tag Archives: independent film

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New World Disorder

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This World Alone

by Rachel Willis

Some of the best post-apocalyptic films don’t worry about the event or events that created a dystopian world. The audience is dropped into this landscape along with the characters and expected to adapt to the new rules and challenges.

With director Jordan Noel’s film, This World Alone, there’s an attempt to balance a Before and After centered around an event only known as The Fall. From the bits and pieces we get by way of opening narration, some cataclysmic incident occurred to render certain electronics (or maybe all of them) useless. The narrator, our main character Sam (Belle Adams), lets us know that cell phones, microwaves, and the internet are now obsolete.

It’s assumed that losing cell phones drove everyone crazy (or is that just my assumption?), mankind was nearly wiped out, and the survivors live in a world where it’s everyone for themselves, food is scarce, and you don’t even want to think about having a pet pig.

The problem with trying to construct a new world in reference to the old one is that it’s easy to trap yourself in numerous logical holes. If you have a good story, it’s easy to ignore those holes. If your story isn’t so good, the holes become chasms.

Sam was born in the Before, but only remembers the After. She spends a lot of time telling us about the Before, which is unnecessary since that’s where we live. Time would have been better spent showing us how this new world operates.

The film’s dialogue is often embarrassing, and it never lets us experience things naturally. Like the narration, it tells us a lot. Sam’s mom, Connie (Carrie Walrond Hood), constantly tells her she’s not ready for the world outside their secluded home. However, if the outside world is as dangerous as Connie always implies, wouldn’t she have better prepared her daughter to fight? Rather than waiting until she’s in her 20’s to suddenly goad her about her weaknesses?

There is some beautiful cinematography, courtesy of Trisha Solyn, that helps enhance the characters’ feelings of isolation. Pointed shots help us see how nature has begun to reclaim the earth. Watching these women alone surviving in a dangerous world is interesting, but a short amount of time is given to this setup.

The cinematography and the score are the movie’s highlights, but unless the film is Koyaanisqatsi, you need more than that to carry your film off successfully.

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Hip to Be Square

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YouthMin

by Rachel Willis

Who needs a farcical mockumentary skewering both youth ministers and the types of kids involved in church camp? Directors Arielle Cimino and Jeff Ryan, and writer Christopher O’Connell bring you YouthMin.

Pastor David, aka “Pastor D” (Jeff Ryan), is dedicated to educating the members of his youth church organization, as well as getting them to the annual Bible camp for competition and games. So, he’s floored when the church assigns a new youth minister to his group, Rachel (Tori Hines). As we quickly see, Pastor D needs all the help he can get.

Ryan is the perfect combination of 90’s MTV reality star (he’d fit right in on early seasons of The Real World) and overenthusiastic youth minister trying too hard to connect with his flock. His attempts to educate the kids on the Bible’s tenets are both hilarious and misguided—a bottle of water becoming an amusing metaphor for sex before marriage.

The collection of kids is what you might expect. There’s a stereotypical jock-type who looks up to Pastor D, a girl who dresses very conservatively and who might have a crush on our inept pastor. Then there’s Stephen, who refuses to talk, and Deb, who dresses in dark colors but knows her Bible (especially the racier parts). There’s isn’t anyone in the group who truly stands out, but it doesn’t really matter since the best parts of the film are the ways these kids relate and react to Pastor Dave.

About two-thirds of the way through, there’s an abrupt tonal shift. The film stops making fun of its ‘subjects’ and tries for a heartwarming, root-for-the-underdog romp. It’s jarring and not nearly as entertaining as what precedes it. These aren’t characters we’ve been asked to care about, so expecting us to suddenly pull for them requires an abrupt shift in perception. Ultimately, it’s a disappointing change.

For most of the film, the comedy works. O’Connell’s writing is reminiscent of some of Christopher Guest’s funnier films. But then YouthMin forgets it’s a mockumentary. The comedy gets stale and the laughs become infrequent as the film putters to its predictable resolution.

It’s too bad this film falters so badly in its final scenes because these lackluster components overshadow the funnier material. If the filmmakers had remembered they were making fun of their characters, they would have had a solid film from start to finish.

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These Kids Today

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Beast Beast

by Brandon Thomas

Coming-of-age movies are hard. As we move into adulthood, humans tend to forget the confusing swirl of emotions teens experience day-to-day. That loss of awareness can make these kinds of movies feel phony and tone-deaf. With Beast Beast, writer/director Danny Madden crafts an emotionally authentic portrayal of young adults that’s a true standout.

Nito (Jose Angeles) is the new kid in town. The always tough move to a new school is softened for him when he meets Krista (Shirley Chen), a self-proclaimed theater brat. Nito is immediately smitten. As Krista and Nito spend more and more time together, Krista’s neighbor, Adam (Will Madden, Danny’s brother), is clumsily trying to get his firearms-centered YouTube channel off the ground. As the pressure from his parents to succeed mounts, Adam begins to lose the grip on his own emotional stability. 

Produced by Jim Cummings (Thunder Road, The Wolf of Snow Hollow), Beast Beast is a gripping look into the lives of three modern-day young people. While not having the darkly comedic overtones of Cummings’s work, Madden’s film strikes the same level of emotional honesty. Madden seamlessly captures the carefree joy of youth, while also acknowledging the fear, loneliness and confusion that the transition into adulthood can hold. 

The natural looseness of the cast is where the film truly shines. Chen and Angeles are captivating with their easy, immediate connection. Will Madden’s Adam is much more internalized and isolated. He captures Adam’s directionless existence by playing the character with a mixture of simmering panic and naivete. 

Beast Beast’s visual aesthetic stays grounded and unassuming. While never fully succumbing to that indie impulse of going entirely handheld, the camerawork stays fluid. It’s the kind of cinematography that doesn’t draw attention to itself until you get to one of those compositions that literally takes your breath away. 

Similarly, the score starts as a mixture of bells and an organ very much in need of tuning. But as the drama within the film intensifies, the score takes a more sinister turn and comes much more to the forefront. 

The film’s third act will likely split much of the audience. It’s not particularly easy to sit through, but does feel like the natural progression of the story. Nothing about the plot or character actions feel gratuitous or cheaply played. 

Fans of indie dramas will find a lot to celebrate in Beast Beast. By focusing so strongly on character, and throwing in a few nice twists and turns, these filmmakers have delivered one of the best films of 2021 so far. 


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Dramatic Art

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Reefa

by Brandon Thomas

Based on a true story, Jessica Kavana Dornbusch’s Reefa explores a short period in the life of street artist Israel “Reefa” Hernandez.

As the film opens, the Hernandez family is about to get what many immigrant families can only dream of: their Green Cards. Originally from Colombia, the Hernandezes are in the United States – Miami to be specific –  as asylum seekers. Young Israel Hernandez has a potent love of art, and has become quite a well-known graffiti artist around the city. As Israel begins to think more about his future away from Miami and his family, the complexities of life as a young immigrant make themselves more and more evident. 

Reefa is the kind of film that proudly wears its heart on its sleeve. This has both positive and negative sides to it. The movie is charming and gets a lot of mileage out of the fantastic chemistry between the actors playing the Hernandez family. The same can be said of the cabal of young people playing Israel’s friends. These are the kinds of scenes that don’t necessarily move the narrative forward, but they do allow the characters to come alive in a way that many melodramatic plot threads do not.

While the majority of Reefa is tonally light, there’s an overarching sense of dread that cannot be ignored: whether it’s the constant state of worry felt by Israel’s parents over their status as refugees or the threat of an overzealous police officer who lets his disdain for immigrants be known. You know tragedy is coming – you just don’t know how. 

The film occasionally dips its toe into After School Special territory. The real story of Israel Hernandez is compelling enough, and the more embellished aspects added to the film have a phony feel to them. The shoe-horned romance between Israel and a New York model, Frankie (Clara McGregor), lacks any spark. The eventual conflict that arises in their relationship only highlights many of the weaker story issues in the script. 

The performances are generally quite good with Tyler Dean Flores impressing as the titular character. Veteran character actor Jose Zuniga (Con Air, Alive) delivers in a small, but impactful, role as Israel’s demanding father. The rest of the cast doesn’t leave the same impression, but they do well with the material provided. 

While not the most successful film it could be, Reefa still ends up serving as a touching tribute to a young man taken too soon.

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Love Letter to a Genre

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Sensation

by Phil Garrett

Martin Grof’s Sensation is a low-tech science fiction mystery/thriller that pulls together familiar plotlines and devices including a protagonist with a mysterious family history, people with superhuman abilities, research facilities, unknown threats, and the dynamic of the real world vs. the dream world. The film feels more than inspired by films such as Christopher Nolan’s Inception and Tenet, along with the superhuman sub-sub-genre.

The plot centers around Andrew (Eugene Simons, Game of Thrones), a young man with no knowledge of his family history, including his father’s identity. Andrew is drawn into a patchwork mystery after a strange and confrontational meeting with Dr. Marinus (Alastair G. Cumming), who delivers Andrew’s DNA test results. He is then followed by mysterious men in matching gray hats who disappear from the film as quickly as they appear. Marinus confronts him and explains that Andrew’s life is in danger and only by joining a secret research program to explore his superhuman sensory powers will he be safe.

Safe from whom? Good question. The veil of vagueness seems to be part of Grof’s attempt to build tension, but it plays as a trope in the boldest of terms, whether through familiar scenarios or bald dialogue that could be delivered by characters in any similar movie. 

Andrew heads off to a secret research facility in the remote English countryside at an appropriately gothic manor estate. There he meets the “enigmatic” Nadia (Emily Wyatt, the Rise of the Footsoldier franchise) who runs the program. We’re introduced to the research group, all of whom have different super-senses like Andrew, all drawn together for special training to learn, focus and sharpen their abilities, and all in danger from unknown forces.

Sound familiar? The double-secret secret of their powers? They can “receive information” via their senses, which is highly valued by, you guessed it, that vaguely defined threat.

The film weaves its way through scenes and sequences that, again, seem more than inspired by other films, delivered with that mix of vagueness and baldness we’ve become familiar with. The dramatic action plays out fairly flatly with huge exposition dumps dropped in at just the right time. The story heads down a spiral of interwoven plots and subplots that are not fully baked, culminating in a protracted final act that tries hard to be inventive but feels like a different movie altogether.

Story aside, the cinematography visual style – ranging from foreboding interiors of the manor house to the sharp, vibrant streets of London – is well put together and effective for the low-tech nature of the film, often elevating the storytelling. The score is impressive but sometimes used as a crutch for dramatic tension. Eugene Simons and the ensemble should be given credit for their work in trying to bring some emotional truth to the film.

Hard-core genre fans may be interested in this exploration of familiar territory, but overall, Sensation plays like a love letter to a genre, and ends up a fractured, amalgamated narrative that works hard to be entertaining and intriguing but doesn’t quite get there.

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Tin Soldiers

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Moffie

by Samantha Harden

“Moffie” is a derogatory term used in South Africa meaning an “effeminate homosexual man.” Moffie is also the name of the South African-British biographical war film.

The film was written and directed by Oliver Hermanus. With help from his co-writer Jack Sidey, the two created a love story that encapsulates struggles, racism and homophobia. You feel stressed right from the beginning.

The year is 1981, South Africa’s white minority government is entangled in conflicts at its borders with communist-led Angola. All white men between the ages of 17 and 60 must complete two years of mandatory military service.

Nicholas Van der Swart (Kai Luke Brummer) was drafted into South Africa’s military, but he knows he is different from the other men serving. Another recruit develops an intimate relationship with Van der Swart and they realize that they are both in danger. 

This is just an incredible performance by Brummer. You could feel his emotions, the worry and the sadness and most of all, fear. Throughout the movie you rarely saw even the slightest smile. 

The first scene begins with suspenseful music that feels as though it belongs in a horror movie. Of course for young Nick, it is a horror movie.

But once Nick meets Dylan Stassen (Ryan de Villiers) and begins to fit in (at least a little), the music changes to classical opera. Later the music makes another change, and then another, and another. Braam du Toit’s score continues to change throughout the film to match Nick’s moods, an excellent detail.

Moffie not only has an aesthetically pleasing score but it is an aesthetic pleasure of the highest order, on nearly every level. 

The movie is so bright and beautiful even if the story is heartbreaking. In a flashback we see young Nick at the public pool with his parents. The camera follows him underwater and for a moment, Nick is happy and carefree. 

We see Nick again underwater, but this time he isn’t a carefree young child anymore. Now Nick is a soldier in the South African military and he just lost a friend. The world has been cruel to Nicholas Van der Swart, Moffie captured that cruelty. 

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What Big Feet You Have

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Dawn of the Beast

by Rachel Willis

Seriously, who still thinks camping in the woods is a good idea?

There’s something about the woods that haunts us, so it’s the perfect setting for many a horror movie.

In director Bruce Wemple’s latest film, Dawn of the Beast, it’s the ideal locale for a group of cryptozoology students on the hunt for Sasquatch.

Wemple likes the creature feature – a look at his past work uncovers another film about Bigfoot (Monstrous), as well as one about the mythological Wendigo. Writer Anna Shields must also enjoy the ‘Squatch, as she not only penned Monstrous, but Dawn of the Beast as well. You’d think with two movies about Sasquatch under their belts, these two would have something new to say about Mr. Foot.

And in a way, they do, but unfortunately, what they have to say about their monster is buried beneath a run-of-the-mill ‘cabin in the woods’ horror trope.

There is some fun in Dawn of the Beast. There are a few jokes, characters you root for, as well as one or two you root against, but there’s also a lot of drudge here. You find yourself sitting through too much filler while you wait for the more interesting moments.

Shields also co-stars in the film as Lilly, but her talents seem better suited to writing. There are some genuinely creepy moments – yellow lights (are those eyes?) drawing you into the woods, one or two effective jump scares, and some funny dialogue. And what Lilly and her classmates find in the woods is a lot more terrifying than the legendary Bigfoot.

However, the film’s best aspect is – far and away – the creature effects. They add a degree of tension and fear that would be otherwise absent without such convincingly scary monsters. In some films, the addition of a monster removes the tension; seeing too much destroys the mystery. But in this case, it really works.  

It’s around the film’s third act that Dawn of the Beast begins to hit its stride, embracing the funnier elements and dropping the attempts to inject a seriousness to the film that it largely doesn’t need. A funny horror movie can still be scary, so anything too serious in this movie (a kidnapping, for example) is time wasted for the audience.

Perhaps if Wemple and Shields attempt a third Sasquatch film, it’ll be the charm that lands them a horror film that hits all the right notes.

https://www.youtube.com/watch?v=t_CStrAZZWI

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A Sort Of Homecoming

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Like a House on Fire

by Rachel Willis

Is there ever a good reason for leaving your family? And if you come home, can you expect them to welcome you with open arms?

Writer/director Jesse Noah Klein examines what happens to a family when a mother who left them behind wants to return in Like a House on Fire.

When the film opens, we’re not sure why Dara (Sarah Sutherland, Veep) has left her family. But we know from the beginning she wants to be let back in, and that she wants to see her daughter. Her husband, Danny (Jared Abrahamson), isn’t sure he wants that to happen, especially since their almost 4-year-old daughter, Isabel (an unspeakably adorable Margaux Vaillancourt), doesn’t remember mama.

Dara’s backstory, as it unfolds, helps the audience sympathize with her disenchantment upon finding her family hasn’t waited for her. But there’s also sympathy to be had for Danny, and particularly, Isabel. This is not a situation with a clear villain, but a nuanced look at the ways in which families can fall apart.

The film’s best moments come from Sutherland. She conveys the desperation of a woman who needs to reconnect with her daughter, as well as the hope that things will turn out the way she wants. Whenever her efforts are thwarted, we feel her devastation. Dara’s initial meetings with Isabel are touching. Dara’s joy and disappointment commingle whenever she’s with her daughter.

It’s the rest of the film that doesn’t always live up to its character.

There are some needless character conflicts that detract from the story’s focus. Dara’s stepmother (Amanda Brugel – a fabulous actress) is a thorn in her side – but the reasons why are unclear. There’s a stepsister (perhaps a half-sister?) who comes and goes without much to do except provide another reason for the stepmother’s animosity. It doesn’t seem as if much thought went into these two characters.

The college boy that Dara meets and befriends at the park is the film’s messiest issue. The time Dara spends with him would have been better devoted to digging into the larger family issues surrounding Dara – both with her husband and daughter, as well as her father and his family.

As it is, a lot of the issues and relationships in the film putter out. There’s an imbalance that sways the film one way and another, but never lands the audience on solid ground.

Which is perhaps how Dara feels all along.

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First Impressions

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Making Monsters

by Hope Madden

Call me superficial, but I really enjoy those old school, pre-credit scares in horror films. (I am also a sucker for post-credit stingers, if I’m being totally honest.)

Done well, they set a tone, freak you out, and make you simultaneously afraid to watch the rest of the film and unwilling to turn away. Writer/co-director Justin Harding knows this, obviously. With a brief but exceptionally chilly opening sequence, he and co-director Rob Brunner dare you to finish their film, Making Monsters.

Christian (Tim Loden) and Allison (Alana Elmer) are planning for their wedding, beginning steps toward IVF, and struggling with the changes this is going to mean in their relationship as well as their livelihood. Apparently, their whole gig is a popular online prank show consisting of Christian scaring the poop out of Allison twice a week.

And she’s marrying him?

They run into an old friend, he invites them to his rustic new digs way out in BFE, and they sneak away for a quiet weekend. Or is it another prank?

If you think the viral prank horror premise is weak and tired, you are spot on. Luckily, Making Monsters doesn’t beat it to death, nor do they rely on found footage or a ton of shaky cam or even a lot of slickly produced viral videos. It’s all in there, but some of it serves a narrative purpose and none of it really wears out its welcome.

Elmer is especially solid, delivering a nuanced and believable character who loves and accepts Christian and remains optimistic that he, too, is ready to grow up. Allison is dimensional, and though it takes some time to realize it, so is Christian.

Jonathan Craig is a good time in a weird role, although he pulls too many tricks from Mark Duplass’s bag of magic to be truly fresh. Still, he’s fun in his own way and the rapport among the three main players rings true enough to elevate the material around them.

Not everything lives up to that first shock, but the next 80ish minutes of Making Monsters are worth a watch.

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A Tangled Web

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The Tangle

by Brandon Thomas

The Tangle introduces us to a future world controlled by AI where people spend their time jacked into an Eden-esque reality. Information is widely available just by thinking it or asking aloud, and acts of violence are impossible to commit.

When a government agent turns up dead in a locked safe room, her fellow agents (writer/director Christopher Soren Kelly and Jessica Graham) must find out how and why the first murder in years was committed right under their noses. 

We now live in a cinematic world where science fiction is more than just large-scale films. Star Trek, The Matrix, 2001 – all of these films have left a lasting impact on the genre. However, small, en vogue movies like Primer and Coherence have wowed audiences with their big ideas despite having budgets that would have only covered catering on Interstellar. The Tangle strives to be one of the latter films with its budget-friendly thinking and world building.

The sci-fi of The Tangle isn’t overtly flashy, nor is it original. Driverless cars roam the streets, and avatars are a common use for those plugged into the Tangle itself. It’s nothing we haven’t seen before. The minimalism works to the film’s advantage as the audience is given more time to focus on theme and character. Sure, it’s fun to “ooh” and “aah” at spectacle, but this isn’t the kind of story Soren Kelly is telling. 

The Tangle comes alive as it leans into its more noir-ish elements. Despite the sci-fi window dressing, the film is a mystery through and through.

The classic noir trappings are apparent in nearly every scene. A sizable chunk of the movie takes place in a dimly lit room as the agents interrogate a suspect. The costume design has nods to the noir classics of the 1940s and 50s, and the dialogue is snappy and cool. You could almost imagine a trenchcoat-clad Robert Mitchum delivering a few of these monologues. 

In a film this exposition-heavy, it’s important to have a cast that’s up to the challenge. While the leads in The Tangle aren’t household names, they more than hold their own with this tricky, tech-laden script. The cast might be the film’s secret weapon, bringing a sincerity that makes the movie work. There’s not an ounce of camp in any of their performances and that’s exactly what this material is asking for.

While not a groundbreaking entry into the sci-fi genre, The Tangle manages to impress with clever execution, a committed cast, and a fun noir twist.