Tag: short film reviews

“Tastes Like Medicine” – (Short Film Review)

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tastes like medicine pic 1

By Andrew Buckner
Rating: ***** out of *****.

“Tastes Like Medicine” (2016), the sixteen minute and thirty second debut short from writer-director Steven Alexander, is an absolute triumph. It operates spectacularly well as both a non-linear, character-driven drama and as a meditative allegory. Alexander presents a journey into the fragmented recollections of our lead, Drew (in a well-rounded, emotional powerhouse of a role from Damion Rochester), that is undeniably harrowing. It is also courageous and challenging throughout. Moreover, it is full of abstract, insightful glimpses into the sad plight of those who, like Drew himself, sense that they cannot let go, or escape from, what has been.

In fact, one of the grandest accomplishments here is how beautifully Alexander blends the situation Drew keeps returning to. This is a celebration for the expectant ex-lover of our protagonist, Allison (a wonderfully honed, slice of life enactment by Marisa Rambaran). All of these are balanced alongside the more surreal, poetic elements issued throughout. Additionally, a mid-film shouting match between Drew and Allison’s current beau evokes how well the authentic and dream-like counterparts of the endeavor are handled. The end result is a profound, technically and tearfully dazzling construction. It is one made all the more magnificent by Alexander’s stylish directorial flare.

All of this is further complimented by Alexander’s intelligent, layered, competently paced and awe-inspiringly designed screenplay. For example, an impressive initial portion demonstrates Alexander’s ability to dually transport thoughtful and entertaining exposition. This is while making a larger statement about society as a whole. The bit comes at a mere two and a half minutes in. It oversees a discussion concerning Drew, felonious background, how the term “criminal” haunts one, especially from an employer’s standpoint, and the male and female double standard. Such is the perfect manner to construct a narrative such as this. It allows us to see the vulnerability and internal wounds of the main personality through his own eyes as well as those around him. Similarly, it also enhances the incredible degree of artistry, skill and ingenuity at hand.

In the tale, Drew arrives at the aforementioned party with a call girl named Kake (in an excellent, down to earth turn by Wi-Moto Nyoka). Continuing to be overwrought with grief and jealousy at how his romance with Allison went wrong, he has a mental breakdown. This causes a situation somewhat reminiscent of what deceased director Harold Ramis laid down in Groundhog Day (1993). Such is where Drew finds himself destined to continuously relive the same incidents connected to the joyous gathering for Allison as if in an eternal loop. The main difference is that, unlike Ramis’ critically acclaimed feature, Drew may not get the chance to move on. This is even if he somehow gets everything ‘right’.

Besides what is clearly visible in the underlying nature of the account itself, Alexander brilliantly fills all that we come across with obvious representations, as well as subtle indicators, of Drew’s inability to live in the present. For instance, a stunning looking title card over a dark screen informs us early of the name of the labor. It than simply states, “Chapter I”. Yet, there is no “Chapter II” anywhere to be found. Even the moniker of the piece itself can be seen as a deserved treatment; a purgatory-like punishment for errors Drew has made. This is punctuated by a chilling, and certainly appropriate, climax. It is one where Drew finds himself doomed to repeat the events which we just encountered.

Likewise, we are also amended a striking, elegiac, lustrous and stirring opening sequence. It runs a mere seventy-seconds. Still, it provides an incredible bit of narration that functions as a stalwart thesis statement of what comes afterward. The arrangement immediately exhibits Alexander’s knack for imagery. This is as a montage of shots of Allison, all of which ingeniously capture her in a range of expressions that could possibly personify the attitudes Drew saw her in during their long extinguished rapport, are spied. During this memorably attention-garnering segment, Alexander poses a question for his audience. This is articulated in the afflicted inflection of our broken hero. Such is repeated in the finale. It sets the tone of the entire endeavor. It is the centerpiece of, not only this scene, but of the work itself. Here Alexander forces his spectators to ponder: “Have you ever stared at something so long that it changes before your very eyes”?

Further crediting the affair is Oliver Covrett and J. Anders Urmacher. The duo drapes the production in moody, alluring black and white cinematography. This veneer matches the overall atmosphere incredibly. Furthermore, Charles Allen Brownley III’s sound contribution is remarkably crisp and proficient. Joanna Rodriguez conjures tremendous make-up. Alexander’s editing is masterful. Justin Walker White as Kevin, Lauren J. Daggett as Julie and Randall Holloway as Alex are all terrific in their respective depictions.

All of these essentials come together to create a multi-genre undertaking that is endlessly believable. Such rings true even when utilizing its more fantastic third act components. That, in itself, is more than enough reason to recommend this evocative, sentimentally rousing tour de force. Alexander has given us a riveting composition. It is one that is unafraid to display the flaws of all of those unveiled within the chronicle. In so doing, it commands us to peer inside ourselves and reflect on the bleaker moments in all our lives. From herein, it pushes us to do just as Kake states to Drew near the conclusion of this magnum opus and “Let it go”! Such is only a hint of the transformative and cathartic strength of the spellbinding fiction Alexander has delivered to his spectators. “Tastes Like Medicine” is a winner on all fronts!

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“Sisyphus” – (Short Film Review)

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sisiphus pic 2

By Andrew Buckner
Rating: ****1/2 out of *****.

“Sisyphus”(2016), the fourteen minute and thirty-three second debut short from director David Graziano, is an incredibly clever and strikingly original modernization of Albert Camus’ 119 page philosophical essay on the pointless quest for understanding, The Myth of Sisyphus (1942). In Camus’ famed text, the title Greek Mythology figure labored to roll a boulder up a mountain. It was a duty he was forced to endeavor for all of eternity. The futility of this back-breaking chore was articulated in the fact that once this was achieved he would watch the rock slide back down the elevation. The job was then repeated to no avail. Such was an expression of the human condition that endures as easily visible. It can still be applied to various aspects of our own personal lives. In turn, it is more than deserving of the updating Graziano and screenwriter Christopher DiNunzio, from a story by Bryan Casey, so marvelously craft here.

In Graziano’s effort, the symbolic pillar is that of a secret romantic relationship. It has blossomed from a friendship between Gretta (in a warm, gentle and credible performance by Jami Tennille) and Marlene (an enactment by Diana Porter that is just as nuanced and wondrous as her on-screen counterpart). The passage of days into years is gently, wisely expressed. This is through their various meetings at the same coffee house. At the heart of this dramatic undertaking is Gretta’s impending divorce. She sees this as a perfect opportunity to cement the once ardent bond she had with Marlene. Yet, Marlene is indecisive. It is an attribute of Porter’s role that she conjures brilliantly. This is as she goes through the majority of the piece coyly, as if unsure of what Gretta is desperately trying to communicate to her. It is from this point other interestingly conveyed concealments begin to get in the way of what Gretta and Marlene once had with one another.

The affair is punctuated by sparkling, immersive cinematography by Nolan Yee. He captures the mature, yet down to earth, tone Graziano injects spectacularly into each frame. This is with incredible visual flare. There is also a vastly appreciated underlying commentary on our diminishing face to face talks with one another. This is as the labor opens with everyone on their phones, directly avoiding all the people surrounding them. There is even an impression that Gretta and Marlene, with the exception of the baristas to their customers, are the only ones who are actually speaking to one another directly. All of this increases greatly the highly representative nature of this beautifully executed opus.

Likewise, Steven Lanning-Cafaro, who appropriately appears here as The Guitar Player, builds upon the sophisticated ambiance unveiled throughout. This is with his musical contribution. Cafaro provides soothing, melodic rifts. All of which are precisely what you may hear at a setting such as the one found herein. Such sweet sounds are continuously streamed in the background during the coffee house sequences. In turn, it often seems as if it is in sequence with and, simultaneously, helping edify the sentiment being uttered by our leads at every turn. Yet, astonishingly, it never once overshadows the dialogue driven emphasis of the account. In this sense, as well as many others, “Sisyphus” is a masterful demonstration.

Further facilitating matters is DiNunzio’s terrific, seamless editing. Graziano, who has wide-ranging involvement as a scripter and actor, has a behind the lens approach which is stalwart and engrossing. He will assuredly fare here as well as he did in his previously stated doings. Graziano’s bravura also compliments the material splendidly. There is also strong sound and camera work present. Such continues to build the excellence found herein.

DiNunzio’s screenplay is smartly paced. The aforementioned banter between our two leads is intelligent, authentic and well-written. The only occasion the feeling at hand seems to lapse is in a mid-way segment and in another nearly identical one during the concluding seconds. This is when we witness the shot of a package being opened. Instead of letting this transpire leisurely, and in real time, it is sped up. On each instance this plays out it momentarily throws us out of the saga. This is because it seems too rushed. It betrays the gingerly constructed illusion to watching life unfold that arose beforehand.

Yet, these are but a few erroneous flashes in an otherwise stellar, highly gripping composition. The fiction, which is scheduled for release in December of this year, is magnificent told. This is in a simple, straight-forward manner. Such mechanizes splendidly in the overall context. Best of all, the characters are always at the forefront. Gretta and Marlene are spectacularly developed. This is especially noteworthy given the exertion’s brief duration. Our protagonists, as well as the photoplay itself, should prove relatable to a wide-audience. Graziano has erected a truly impressive, emotive experience. I look forward to seeing what moving picture wonders he will conjure in the future.

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“It’s Not You” – (Short Film Review)

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It's Not You pic 2

By Andrew Buckner
Rating: ****1/2 out of *****.

“It’s Not You” (2013), the four-minute debut short from writer-director Sophie Peters-Wilson, is a sentimentally searing powerhouse; a visual poem told largely via flashbacks. It is one where joy is overtaken by a hidden heartache. What makes the material all the more potent is that it these memories, and the emotive journey attached to them, personify what is occurring in the mind of a young girl. She is referred to in the credits merely as Daughter (a performance by Abigail Spitler that tremendously conveys all the conflicting sensations someone in her position would undergo in such a situation). As the undertaking commences, she is being told that her parents are about to partake in a divorce. What follows showcases magnificently, achingly Daughter’s altering perspective. This is concerning what initially appeared to be happy times.

Peters-Wilson communicates this to the audience with small tidbits, all of which suggest transformative secrets, which were either regressed or deliberately hidden from Daughter’s eyes. For instance, one sequence showcases a close-up of Father (in another commanding, passionate and hypnotic enactment from Timothy J. Cox) pulling himself out of the locked hand of Mother (in a phenomenal, well-rounded depiction by Sarah Ruth Blake). This is to address another woman who has stopped to ask Father a question. Yet, the moment, heightened by the angry glimmer in Mother’s eyes as the instant occurs, speaks of jealousy. There are also various other hidden undertones. These are of her suspicions that Father is not being faithful. As the mid-section becomes a balance of arguments between both the maternal and paternal halves of this familial unit, Peters-Wilson clearly states the concealed tiff, revolving around the fear of breaking the matrimonial bond, between the two. It is during this succession, more than ever, we also note how remarkably Peters-Wilson has put us into the mind of Daughter. This transpires as we find ourselves asking many of the same questions that the character herself must be forced to ask during this deliberation. These are inquiries like: “Is this particular time what caused their falling out? Was this simply part of a bigger sequence? What could’ve been done to change this while it happened?”

It all helps to make this brief affair, which was shot in New York City, victorious. This is as both a psychological portrait and a maturely fashioned character study. Likewise, Peters-Wilson, who created this haunting composition with a reported budget of only $100, provides a screenplay that is credible at every turn. This specific section is also brilliantly structured and fluently, suitably paced. Moreover, the sparse bits of dialogue Peters-Wilson provides her leads are endlessly believable. Such is especially accurate with the circumstances the collective kin unveils. Though Daughter’s outlook fuels the majority of this stalwart opus, Peters-Wilson goes out of her way to be respectful to the plight and perception of all involved. Such a decision amends the effort with all the more dimension and detail. In turn, it makes it feel all the more complete. Peters-Wilson’s stirring, meditative authorship is given a stylish visual component through her directing. It is one which is equally elegant and impressive. Both elements find the perfect note for the material immediately and execute it beautifully throughout. All of these aforementioned attributes are more than visible in the final product.

Peters-Wilson also offers cinematography which is absolutely stunning. This is from the aspect of its overall veneer and tonal mastery. The more upbeat moments are merry, bright and cheery. When the story exposes the dark underbelly of Mother and Father’s relationship, what we see on-screen is drenched in a color palette that is appropriately bleak. Peters-Wilson’s contribution in this respective category is all the more striking and wondrous because of how well she speaks to her audience through this, and all the previously stated, mediums. Her editing is just as sharp and seamless.

With the further assistance of tremendous camera work from four individuals, this is just as pleasurable to admire from a technical angle as it is to witness. Peters-Wilson and her moviemaking crew have provided a narrative that has undoubted resonance and true cathartic value. This is for those who, sadly, may find themselves in a similar condition as those we encounter within the venture. It is just as much for the personalities who can look back, much as Daughter may do years after the events of this tale have happened, in continued meditation. “It’s Not You” is a heartfelt, courageous, challenging and necessary drama. Peters-Wilson has crafted an unflinching, cerebral masterpiece. It is one which all of its spectators can utilize to understand, in one arena or another, and grow from. That, in itself, makes it certainly worthy of recommendation, seeking out and experiencing for yourself.

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“Mail Time”- (Short Film Review)

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Mail time pic 1

By Andrew Buckner
Rating: ****1/2 out of *****.

Writer-director Sebastian Carrasco’s six minute and twenty-four second short, “Mail Time” (2016), is quietly compelling and magical. It is also grandly emotive in the manner of silent films from the early twentieth century. This sentiment is greatly enhanced, and made all the more operatic, by the remarkably stirring, uncredited score which drives every frame of the composition. Such an element is made so herculean that even mundane bits are immersed in a magnetic cinematic light. An example of this can be spied in a mid-way sequence that involves our lead, Ted (in an enactment by Timothy J. Cox that is commanding and likable as always and made all the more impressive by the performance being completely without dialogue), sitting at home. The moment conveys volumes by merely showing him smiling giddily as he watches a magician on television.

What continues to assists matters magnificently is that Carrasco has erected a screenplay which is artistic, beautifully honed, structured and contemplative. Yet, he gives Cox room to breathe and to create. Such a decision makes Ted something special. He is a hero who, like many of us, are unaware of such a stature. This is projected through the duration to great impact here solely through the lens of his everyday actions.

The narrative focuses in on Ted’s faux magician act suddenly becoming genuine. Initially, this behavior is an undertaking he has evoked to make the grinding routine of his occupation enjoyable. This is as much for his customers, the faces he sees repeatedly and to divert the nefarious man who constantly tries to rob him, as it is for Ted’s own sense of childlike wonder and awe. It is also utilized for the sake of keeping Ted’s employment as fresh and new as possible. This also mechanizes as a method to help make the transaction between mailman and customer memorable. Almost unthinkably, genuine mysticism begins to finds its way into his life. Soon the humdrum pattern of his days are anything become anything but ordinary. Ted now has now become real-life illusionist. His once banal delivery route has become a stage, a setting for truly joyous and numinous exploits.

The piece is a simple, innocent tale at its heart. It knows this on a conscious level. Therefore, it never gives into any possible inklings lesser exhibitions of this ilk may have. This would be to make the work more complex than it needs to be. That, in itself, heightens the wonderfully old-fashioned joviality and storytelling at hand. This assists in making Carrasco’s brief endeavor all the more charming.

Carrasco’s direction is equally illuminating. It is endlessly stylish and further calls to mind similar entries which are a hundred years or more behind us. Moreover, Carrasco has a sharp sensibility of pace. This effort moves along much in the manner Ted does through his day of labor here. It is briskly casual. We glide from incident to incident with sufficient time to get a strong impression of all necessary details of the situation. Also, we never assume the sensation of being pushed along doggedly to get from point A to B. Despite this, it miraculously never feels as if it lingers or any of the sequences go on longer than they should. This is a difficult and delicate balancing act in itself. It is one worthy of great acclaim. Such is one of the many astounding feats this marvel pulls off wonderfully.

Enhancing the overall prowess of this composition is Makeela Frederick. She is excellent in her small role as The Girl. Additionally, Bernardo Salazar’s cinematography is resplendent and certainly striking. Carrasco’s editing is just as impressive. Simultaneously, the sound and make-up contributions are just as terrific as the previously stated traits. These details conduct an account, stated to have a budget of only $1,000, which is pure, exuberant delight.

Carrasco opens on a loving note. He carries that ardor respectfully, engagingly until the closing credits. Such evokes an undeniably positive experience. It is one which will undoubtedly leave even its sourest of spectators in a far better mood after viewing it. That, in itself, is a rarity. This only makes “Mail Time” all the more worthy of recommendation. To its further recognition, the touches of comedy here are natural and endlessly successful. They appear as much of the story as everything else we come across. For instance, a commencing gag in the first sequence which dramatically showcases postage articles falling onto a table in slow motion, reminiscent of something one might see in a soap opera, are where this is most effective. Such an aspect only further represents the upbeat nature of the visions radiating on-screen.

It all comes together to create a tour de force. Carassco has concocted a mesmerizing opus; a well-deserved ballad to the often unsung powers of those who take up the reins of laborer dutifully. This is a stroke of brilliance. It is one that broad ranging audiences will assuredly have no problem relating to. Carassco has provided us a touching, illuminating and enchanting masterpiece. It is as much necessary viewing for the stressed out adult who is long exhausted of the repetitive nature of our quotidian doings as it is for the wide-eyed youth lurking within. Carassco has fashioned a gentle character study. It is one that hits us on a passionate level, speaks to us and makes us want to unveil the magic in our own lives.

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“Linda LeThorn & the Music Box” – (Short Film Review)

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By Andrew Buckner
Rating: ****1/2 out of *****.

One of four short films writer-director Meg Skaff constructed in 2012, “Linda LeThorn & the Music Box” is a hypnotically erected, splendidly paced and, ultimately, rousing success. Skaff takes the tried and true horror element of a haunted music box and builds a world around it that is mesmerizing and wholly new. This is courtesy of, and made all the more engrossing by, Skaff’s witty, wry observations of the weird and commonplace intertwining. Her brilliant screenplay and impeccable eye for framing these components into entertaining, stylistic bravura makes this mixture all the more illuminating. Such items punctuate the plethora of uncanny observations at hand. All of these are produced in a manner as if the camera itself is reflecting the interpretation of our enthrallingly odd title heroine (in an impeccably realized performance by Aundrea Fares where her monotone, emotionless character expressions only heightens the effectiveness of the already potent humor).

Such a tone is established immediately in an opening montage of sorts which showcases LeThorn’s various pets. This sensation never wavers throughout the seventeen minute runtime of this dazzlingly made comedic opus of innocence and melancholy. Even the most routine of moments, such as a repeated sequence in the first half which showcases LeThorn peering at frozen food as if both ravenous and drugged in a grocery store, are put together in a manner that is both hallucinogenic and ominous. They are also darkly hilarious and captivating. All of these words are perfect for the atmosphere Skaff gives the material. It fits wonderfully. Such makes the intelligence and expertise resounding through every frame all the more intense. Yet, all of the distinctive images, and the incredibly delivered bits of Skaff’s well-penned and credible dialogue which accompanies them, conjures a wisely underplayed, yet visible, level of emotion. I related to LeThorn and the projected assessment of the landscape she inhabits more than I care to admit.

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Skaff, who has a small bit as a homeless person here, tells the tale of LeThorn receiving a collection of one of a kind articles from her Aunt Lucinda (in a fantastic role of the domineering by Susan Kirby that etches her character, largely via flashbacks, remarkably well through brief glimpses). Among these is the aforementioned container of sound. It is one which happens to play songs on its own accord. Almost immediately after receiving this resplendent item, LeThorn becomes possessed by Lucinda. From herein, she learns of a debilitated love triangle involving Lucinda. She also feels the need to start a skin-picking society. This is something of an ode to one of Lucinda’s equally inexplicable traits. Such a characteristic becomes the pushing force for a large portion of the dryly riotous second half. Likewise, the account ends on an appropriate note. It is just as attention-garnering and expressive of LeThorn’s isolated domain as what opens the venture.

The rest of the cast and crew provide exceptional work. Timothy J. Cox is delightful in his depiction of the sweat-suit wearing, bespectacled individual we come to know as Purple Green. He lives in the same building as LeThorn. Simultaneously, he also appears to be named after the color of clothing he wears. Ashley Peoples as Geraldine, Brit-Chardle Sellers as Terry Kendall and Kimberly David as Traffy are all terrific. The previously stated depictions are as singularly off-beat and watchable as LeThorn herself.

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Composer Insula Dulcamara’s music echoes the nature of the fiction well. The soundtrack is melodic, uniquely beautiful, dramatic and evocative. Skaff’s cinematography is marvelous. It makes all we encounter into a consistently gorgeous visual feast. This is especially evident in the more dream-like instances. We see this in one spectacularly done early moment. Such transpires when LeThorn is viewed dancing in her apartment. This strange segment is made all the more so as a majestic glimmer of a disco ball arrives out of nowhere. Immediately, it begins spinning radiantly in the background. The direction, editing, production design, costume, wardrobe and make-up work by Skaff are just as proficient and appealing.

Skaff has proven herself an incredible talent with “Linda LeThorn & the Music Box”. There is a striking parallel to her approach here and that of a film by Wes Anderson (2001’s The Royal Tenenbaums, 2014’s The Grand Budapest Hotel) at his most sophisticated and striking. Furthermore, some of the more ethereal scenes call to mind, in their own way, the behind the camera flare of moviemaker Tim Burton (1988’s Beetlejuice, 1990’s Edward Scissorhands). Best of all, the laughs are quietly underplayed. They are never highlighted as such as many modern mainstream genre entries appear obliged to do. Each guffaw is planted in one sense or another in reality as exclusively spied by LeThorn. Such only adds to the skill and craftsmanship pulsating throughout. It all comes together to create a masterpiece; a commentary on social interactions and society itself that is biting, bold, memorable and downright hysterical. This is a must-see!

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“Maya” – (Short Film Review)

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https://www.youtube.com/watch?v=h4BD-NIl5Fc

By Andrew Buckner

Rating: ***** out of *****.

Director Veemsen Lama paints with the entire spectrum of the human experience in his tender and tragic sixteen minute short, “Maya” (2015). At times painful and others loving, optimistic, genuine and poetic, this work is undoubtedly full-bodied and alive. Lama, courtesy of a beautifully written and endearing screenplay by Tayo Odesanya, offers a stunning behind the camera bravura throughout. It is one which makes its more gentle moments all the more tearfully stirring. Likewise, it assists grandly in making the far more intense, dramatic instances all the more riveting.

The pace is just as masterful. In the tradition of the best brief compositions of this ilk, we walk away from the exertion impressing upon ourselves that we have been amended a feature length story. Yet, one that never feels condensed in any manner to fit into its fleeting span. Much of this has to do with Odesanya’s filler-free script. Every sequence directly continues the gripping narrative expertly. The believably wrought dialogue follows suit. Yet, the piece never feels rushed. Everything comes to us with an apparently natural progression. Such is just one of the many incredible feats this ground-breaking artistic construction conveys.

Lama tells the tale of three young children. Their names are Bikram (Suraj Tamang), Kancha (Aakash Malla) and the title heroine, Maya (Ashmita Tamang). The incredibly likable trio are seen escaping a seller in the immediately attention-garnering opening minute. These commencing seconds are smartly edited by Biki Gurung. Such is issued in an assortment of quick cuts. The decision to do so only increases the power, confusion and intrigue of what we are viewing. After this daring undertaking, they find themselves in the center of Kathmandu (Bagmati, Nepal). From this point, they are forced to steal food and other items necessary to ensure their survival. All the while, they occasionally labor at construction sites. This is while dreaming of, and slowly building, a home that the three of them can live in. Such becomes a testament to their will to endure. We, the audience, notice this all the more as such aspirations meet impossible to conquer obstacles at practically every turn.

Suraj and Ashmita Tamang, as well as Malla, are exceptional in their undeniably courageous roles. The Javiya Films production sports a small secondary cast which is just as impressive. Ben Winwood’s music captures the alternately fearful and inspirational tone of the undertaking. This is erected with simple beauty and maturity. Arran Green’s cinematography frames the entirety in a visual splendor. It is one where the same sentiments certainly apply. Shyam Khadka’s set decoration and costume design, Hannah Barnett’s vocals and Michael Ling’s sound carry on these attributes further. Everyone involved does marvelously in their respective technical arenas. The result is accessible in every achingly gorgeous, emotionally rousing sight we encounter herein.

Lama punctuates the account with a finish that is as enthralling as everything that came before it. Such a climax evokes the perfect concluding note. It is a send-off that impeccably captures the heart-tugging gambit of all that arrived prior. Such only highlights the topic of love, hope and innocence amid the harsh, adult landscape these youthful individuals find themselves in. This makes the ultimate culmination all the more effective. It escalates and underlines the impact of the theme of the stalwart nature of valor and virtue, and its ability to carry those instilled with it through an unapologetic environment, vastly. It also adds layers of potential allegory beneath the visage of its rather straight-forward approach.

The strength at hand is greatly heightened when we realize Maya, Bikram and Kancha are an extension of many of us. Such are those who try to abide by an unspoken code of kindness and mutual affection for those around us despite abundantly negative circumstances. In this sense, as well as uncountable others, “Maya” is irrefutably relatable. It is also meditative, gentle, striking and quietly authoritative. Lama has created a cinematic endeavor, full of well-developed protagonists, which demands deliberation and respect. This is an opus which lingers in the psyche long after its fittingly underplayed closing credits have ran their course. Lama’s sincere, well-rounded portrait is an absolute masterpiece; searing, challenging and ingenious all the way.

maya short film poster

“Over Coffee” – (Short Film Review)

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over coffe pic 1

By Andrew Buckner
Rating: ****1/2 out of *****.

The primary joke of “Over Coffee”, a fifteen minute short from 2010 that was written and directed by Sean Meehan, is the lengths someone will go for that all-important morning cup of joe. The ticking clock motif is hilariously utilized in this situation. Such occurs as we find out that this beverage isn’t for our office laboring lead, Andrew (in a likeable performance by Erik Potempa that showcases the everyday qualities of his on-screen persona to terrific effect). It is for the imposing real-estate entrepreneur, Hamilton Rice (in another masterful portrayal by the always watchable Timothy J. Cox). He is from Rice Realty Inc. We learn in the first few minutes, in one of the many triumphantly humorous initial bits, that he has an obsessive fascination with the Post-It notes and their colors’ representational values. When a meeting that was scheduled with him at Wednesday at noon turns to “he’s on his way” the office Andrew works at descends into chaos. Andrew sees this as an opportunity to help out the girl he has unvoiced affections for: Carla (a tremendous representation by Jocelyn DeBoer that mirrors Potempa’s enactment in charisma). This is by executing an exploit he fools himself into thinking will be easy. It is to get Rice his coffee, measured out to his demanding specifications, before he shows up.

This set-up is splendidly introduced five minutes in. The last 2/3 are a cheery, light, but dead-on, parody. Such is of the maddening rush of the work-world. It is also about how, especially for those of us who are feeling the aforementioned crunch of labor and time, the simplest of tasks become the most difficult and strenuous. This pressure is perfectly realized in the opening moments. Such is a reverie of sorts involving Andrew’s run to his place of employment. This can be seen as a delightful thesis statement to the entire exertion.

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It is this allure which helps propel Meehan’s attempt to such successful heights. An early sequence between Andrew and David (in another of the many enjoyably wrought performances herein), where the duo are engaging in a conversation about cell phones and relationships that is sprinkled with one funny sexual innuendo after another, could’ve been cut from any closed door office friendship. A mid-film arrangement involving the laborious undertaking of getting a coffee order right, especially when said coded in a dense Starbucks-esque language, also adds to the breezy, slice of life comedy at hand. The romantic element also further illuminates such an aspect. It makes for a finale that is wonderfully old-fashioned in its upbeat simplicity and joviality. This makes Meehan’s work perfect viewing to break up another cloudy day of toil. This is by pointing out the absurdity of many of the situations we, the laborers, find commonplace.

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This detail is also thanks to a sharp, genuinely hilarious and character-oriented screenplay by Meehan. He gives us direction that fits the atmosphere of the material beautifully. This endeavor parallels itself to the look, luster and pace of similarly themed genre cracks well. Yet, it always feels fresh, unique and new. The Two-Five Films and A Studio in Production release benefits from vibrant music by Eric Campo. Matt Schwarz’s cinematography is exceptional. The same can be said for Meehan and Schwarz’s editing. Contributions from the five members of the sound department are also terrific. To add to the skillfulness visible throughout, Mallory Portnoy is outstanding in her representation of Laura.

Meehan aims to amuse and brighten with this venture. This he triumphs at stupendously. His exhibition is even paced and consistently entertaining throughout. The composition has just the right amount of well-timed comic moments and affectionate instances. This is utilized without ever appearing to artificially strive for either. The piece, made for $5,000, is amiable at every turn. Meehan injects the same demeanor here that made later efforts like 2015’s “Total Performance” so winning. His goal is to appeal to a mass audience by using themes we can all find applicable. This is one of the many triumphs on-screen. “Over Coffee” is a tour de force achievement. It is one which seems to have a bit of a Woody Allen spirit to the proceedings. Such makes this phenomenal accomplishment all the more endearing. This is the increasingly rare cinematic product which will be undoubtedly relevant, in some form or another, to practically everyone who crosses its merry path.

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“Hell-Bent” – (Short Film Review)

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hell-bent

By Andrew Buckner

Rating: ****1.2 out of *****.

“Hell-Bent” is a deliciously dark comedy from first time director Foster Vernon and writers Lorenzo Cabello and Shayne Kamat. The twenty-six minute and forty-second short film, released through MKaszuba Productions (“Inspired“) in 2016, takes full advantage of its wise-cracking demon on the loose set-up. The laughs are rapid-fire. This is thanks to the endlessly witty dialogue Cabello and Kamat have constructed. It is also courtesy of Steven Trolinger’s dead-on performance as the unholy fiend himself, Ricky. Trolinger, whose on-screen persona has a unique resemblance to Dark Horse Comics’ Hellboy, brings a smirk-inducing charisma to his unkempt, obscenity spewing demeanor. It is one which is compulsively watchable. Such is unmistakably noticeable from our initial sighting of him, as he talks into a disconnected phone, at five minutes into the work. His portrayal is one of the many elements incorporated herein that make the proceedings play like an R-rated rendition of Tim Burton’s Beetlejuice from 1988. Even the way Trolinger carries himself seems modeled after Michael Keaton’s timeless enactment of the title personality from the previously mentioned feature. It can also be seen as a riotous parody of the evils of the laboring world. Moreover, the malevolent beings one would call upon to get ahead in it.

The tale follows Michael (in a tremendously realized performance by Justin Andrew Davis). He is in constant competition with Beth (a well-orchestrated depiction by Ashley Kelley) at Brimstone Magazine. Michael is desperate to find a way to prove that he is the best writer at his place of employment. His options appear to be bleak. That is until he finds out that the upbeat and unassuming Agatha (a scene stealing, continually amusing enactment by Leslie Lynn Meeker), who labors alongside Michael, happens to have a summoning circle in her basement. It is than Michael becomes a curious, but confused, bystander to the act of bringing forth Ricky from his fiery resting place. Michael’s initial fear turns into optimism. This occurs as he sees Ricky as the perfect subject for what he is certain will be the article that makes his literary capabilities widely known.

Such a premise is intriguing in its own right. Yet, the filmmakers wisely know when to take chances and when to underplay the guffaws. For instance, the best sequence in this brief endeavor is erected while Michael and Ricky stand outside a church. It is than Ricky decides to play a game called “See You in Hell”. This is where he announces the sins of those who pass by as they file out of the aforementioned building. Soon he points to the structure itself and says, “Tax evasion”. Moments such as these help fashion the piece with its constantly sharp edge.

Yet, it triumphs just as well in its smaller, more understated instances. Such can be seen in the emotionally stirring typewriter shot which opens the composition. It is also visible in one of the hilarious concluding bits. In this segment, Agatha, Michael and Rickey take a picture together. This is arranged in a way that mimics the at home quaintness such arrangements often embody. It all comes together to showcase the variety at hand.

This smoothly paced effort is elevated by Kamat’s impressive, immersive cinematography. He also incorporates wonderfully done editing. Marc DeBlasi gives a crisp, skillfully issued contribution to the sound department. Kailia Bowlby’s make-up is terrific. Likewise, Kiyun Sung’s visual effects fit the atmosphere of the exertion spectacularly well. They are also astonishingly and credibly issued. Such heightens the 1980’s style charm that ebbs and flows throughout the undertaking. Vernon’s direction is stalwart and even throughout. Cabello and Kamat’s writing is brilliant in structure and in quality. Timothy J. Cox is mesmerizing in his representation of Mr. Bowers.

All of these components comes together to create a character oriented, effectively sidesplitting and engrossing product. Such is one that is as narratively intriguing as it is technically gripping. The quips and one-liners are triumphant in punchline and in execution. Yet, the exertion has as many gentle cases as it does boundary-pushing instances. This makes the affair so much more than a string of well-delivered cracks. It provides an undercurrent of heart and unbending concern for its leads. Such makes the depiction all the more even, varied and alive. What could’ve easily turned into a bitter outing becomes a resplendent balance of joviality, proficient filmmaking and depth. In turn, the promising young talents of Vernon, Cabello and Kamat shine. Their collective strengths, along with the rest of the terrific cast and crew, help make “Hell-Bent” a winner on all fronts.

You can check out the official Facebook page for “Hell-Bent” here.

“In a Time for Sleep” – (Short Film Review)

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By Andrew Buckner

Rating: ***** out of *****.

On its surface Trofiq Rzayev’s fourteen minute, 18+ rated short, “In a Time for Sleep”, is about a turbulent relationship. It is one which explodes into un-meditated violence. This is during what it meant to be a celebratory one-month anniversary dinner. Such shockingly transpires between our heroine, Leyla (an incredibly honed depiction by Goknur Danishik that is both vulnerable and aggressive in equal doses), and her ungrateful boyfriend, Arda (a terrific performance by Mehmet Faith Guven that greatly enhances the credibility on-screen). Yet, the Turkish language piece, released through Angry Student Productions, derives poetry and dramatic resonance from a set-up less competent filmmakers would use for traditional thriller conventions.

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Screenwriters Guven and Rzayev also add quiet commentaries on the intervention of fate. This arises most readily from the bond Leyla finds in an unnamed woman (a strong representation by Elif Barut) she meets, and partners up with, along the way. For most brief features this would be enough. Despite this, Guven and Rzayev focus sharply on how the incident, whose action and deliberation of potential consequences take up the first half of the composition, shapes Leyla’s sense of liberation. In the wake of the bloodshed, she also unveils her true self. The emotive heft of this reveal becomes all the more poignant. Such occurs with the realization that this individual spirit was abandoned, discarded even, during her time with Arda. This is powerful material. It is made all the more potent by the meticulous care and craftsmanship at hand. Such reverberates through every frame and creative influence from the moviemakers herein.

Much like Rzayev’s terrific “Nihan: The Last Page”, which also concerned the difficult aftermath of a liaison, Guven and Rzayev find a tone that is striking and consistently mature to tell their transformative tale. It is also stunningly beautiful. This is issued immediately. It is only expanded upon as the affair unravels. Most incredibly, there is an authenticity about the situations and what comes from them. Furthermore, the characterizations and the overall veneer share this attribute splendidly. Likewise, the pace is brilliantly etched. It offers even time to contemplate every major turn in its narrative events. This is without feeling rushed. Moreover, it never betrays the believable, slice of life nature. Such is accomplished effortlessly throughout. The script is intelligent, multi-layered and awe-inspiringly fashioned. Rzayev’s directorial contribution is elegant, often understated, gentle and endlessly impressive. It, again, showcases Rzayev’s absolute mastery of the cinematic craft. All of these elements are also much in line with the previously stated endeavor.

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The other technical facets are just as astounding. Rzayev’s cinematography is illustrious. It fits the eloquent atmosphere of the chronicle terrifically well. The same can be said for his input to the editing of the undertaking. The original score by Gergo Elekes and songs by Serif Ahmet Ege are transcendent and touching. David Kislik’s visual effects are phenomenal. These components only further increase the plausibility Rzayev is obviously striving for. An inventively done concluding credits bit only heighten the appeal.

Rzavey has created a full-bodied masterpiece. “In a Time for Sleep” is entirely fulfilling as a gripping account. It is just as ravishing as a study of those we encounter on-screen. From Leyla’s commencing line, “You’ve destroyed everything!”, to its uniquely uplifting climax: our attention is piqued throughout. Yet, its emphasis on thoughtfulness, spied most readily in even its most miniscule of instances, is the most encapsulating component of all. What is just as astonishing is how this is all consummated in such a transitory duration. Rzayev’s latest satisfies on all aspects. For those of us who adore a moving picture which challenges and compels, as well as invigorates and leaves a lasting impression, this is mandatory viewing.

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“Sky’s the Limit” – (Short Film Review)

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By Andrew Buckner
Rating: ****1/2 out of *****.

When we first meet Jason (a charismatic, genuine and beautifully honed portrayal by Timothy J. Cox), the lead from first time writer and director April Schroer’s “Sky’s the Limit”, the balance between family man and recently widowed father is perfectly displayed. He is visibly distracted. It is easy to detect that there is a high level of stress, hints of anger even, beneath his always calm exterior. The individual is spied typing away on his laptop. He is searching online messages. All the while he is only partially listening to what his son, Frankie (a strong and vulnerable depiction, perfect for the material, by Joseph Di Stefano) is saying. The signals, cries of attention from Frankie, appear initially lost on Jason. That is until a playful, imaginative game fills the duo with joy. It is this note which makes the second half, where Jason meets Kaitlin (a sharply rounded and authentically honed representation by Monica Servellon) so quietly powerful.

As the story goes on, it is uncovered that Frankie’s babysitter, Rebecca, is unavailable. From herein, the youth tags along on his dad’s date. It is during these later scenes, both natural and skillfully executed, so pivotal. Here, the audience begins to further sense the unspoken tug of war Jason has within. This is with his decision on which priority is more important to him: the role of parent to Frankie or lover to newly met Kaitlin. His final choice is as underplayed as all that came before it. Such heightens the dramatic beauty ebbing and flowing beneath its transcendent, vibrant slice of life surface. The result is a dynamically developed, breezily paced tale. It is one complimented by genuine dialogue and same-said events. Moreover, it is graced with tremendous performances. The outcome of such is a herculean marvel. It is one that is both fully satisfying and illuminating. Ultimately, it is the consistent believability on-screen, a mirror to existence itself Schroer holds throughout the endeavor, which makes these elements all the more stalwart.

Such is the impetus which thrusts forth the everyday comedic bits. It makes them all the more engaging and likable. These are all beautifully assembled. Refreshingly, the use of humor is not so heavily applied that it ever appears forced or betrays the realism Schroer has successfully accomplished. There is also a poignant, sobering emotive resonance beneath it all. It is one which is lightly, proficiently issued.

Schroer’s fantastic direction and smartly written screenplay never demonstrates the need to underline the sentimentally intense instances. Instead, it is as if we are a silent partner. This is most noteworthy as Jason greets Kaitlin at the door to initiate their date. Such is especially accurate during the climactic movie theater sequence. This is where Jason mentally assesses which definition of love is most important to him. Additionally, this is all entertainingly and convincingly distributed. The fact that such is done in a tightly-knit runtime of seven minutes and thirty-one seconds is all the more awe-inspiring.

With an estimated budget of only $1,000, this is also a technical gem. It looks and feels like an expensive, polished big budget product. Tom Mika’s cinematography is splendid. It supplements the tangible veneer emanating from all other aspects of the effort spellbindingly. Mika and Schroer’s editing fares just as well. Georges Estrella and Filip Ilic’s sound is crisp and spectacularly fashioned. The uncredited music utilized is phenomenal. It fits the brief production’s tone gloriously. To add to the quality at hand, Ryan Moore is incredible in his quick turn as Sky King.

Filmed in Montclair, New Jersey the composition is a joy to behold. There’s a joviality, an innocence lurking beneath the frames. It is one that is as admirable as it is necessary. This is a terrific, heartfelt account. It serves as the reminder to those of us who may see some of ourselves in the rendering of Jason. Such is to disconnect from the workaday world which dominates us. Furthermore, to focus our energies where true importance lies. This message Schroer delivers in a manner that is as understated as all that is previously witnessed. Much like these other attributes, such an action makes it all the more potent, pivotal and prevailing. This is a fantastic, intelligent and masterfully constructed undertaking. It is one I highly recommend you experience yourself.

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