Category: Shorts

GET OFF MY PORCH – Short Film Review

Everyone has been solicited to purchase girl scout cookies at some point, usually around the same time every year. Some can even claim to have been pressured, coerced or even harassed into buying the tasty little fundraising treats. Hey, a girl’s got to earn her badges, right?

GET OFF MY PORCH (2010) is a fun-filled, darkly twisted tale of a man who finds out just how far two girl scouts will go to ensure everyone enjoys their cookies. Writer and director Patrick Rea (with more than 25 short films to his credit) clearly has a decidedly wicked sense of humor, one that touches on the macabre without actually going there in detail. Rea’s forked-tongue-in-cheek short film winks and nods, but despite all the intensity of the film’s unsettling humor, it remains surprisingly somewhat family friendly. If I were so shallow as to support the ratings code as it currently stands, I would probably give Rea’s film a PG-13, primarily for scenes of “implied violence and satanic worship.”

Of course, I’m not that shallow. Instead, I’ll give GET OFF MY PORCH, a 13-minute short, an “A” for “awesome” because I had a so much fun watching the film. I laughed, but I also felt legitimately spooked, especially once the true evil nature of the girl scouts bares its metaphorical fangs.

*It should also be noted, this review is in no way a direct commentary on the actual Girl Scouts, who do fine work for their communities. That, and, I don’t want them coming after me.

Brad Meehan plays Neil, just an average guy, who finds two cute girl scouts standing on his porch, smiling from ear-to-ear. They present their tasty treats in a rehearsed fashion, but Bert politely refuses, not out of some stroke of meanness, but simply because he had just recently purchased fundraiser goodies from some other kids. Just when Bert believes he has successfully protected his wallet from further thinning, he discovers persistence as he’s never known.

Let’s talk about Mary and Cindy. These are two of the scariest girls you’ll meet on the big screen. They’re adorable, innocent-looking enough, but this is all very deceptive. Mary, played by Katherine McNamara (TV series DROP DEAD DIVA, 30 ROCK), and Cindy, played by Andrea Strickler, are demented psychopaths. Yes, I said it. GET OFF MY PORCH is funny, yes, but it’s primarily a horror story. The things they manage to do to Bert are both imaginative and disturbing, but Bert is driven out of his “good guy” shell as he attempts to fight back.

Visually, GET OFF MY PORCH has a very digital look to the film, shot on the Panasonic HVX-200, but cinematographer Hanuman Brown-Eagle does a marvelous job of keeping the shadows prominent and the colors rich and saturated without taking over the composition of each shot. One of the highlights of the film is Henry Manfredini’s score. A true veteran of horror composers, Manfredini has scored the likes of FRIDAY THE 13TH, SWAMP THING, HOUSE, WISHMASTER, and a personal favorite of mine, CAMERON’S CLOSET.

GET OFF MY PORCH starts out as something you may expect to see on the Disney Channel or Nickelodeon, but quickly warps into a playfully nightmarish experience. I am reminded of films such as 976-EVIL… creepy, but cheeky. GET OFF MY PORCH is, in some respects, a horror film that parents can appreciate… if not fear.

Learn more about GET OFF MY PORCH at the film’s website.

Mike Pecci’s Grindhouse Shorts DVD Available for Pre-Order

Director & photographer Mike Pecci is self releasing all of his violent short films on one loaded DVD.

Mike Pecci’s Grindhouse Shorts!

This is the definitive collection of what Filmthreat magazine called “Grindhouse done right”. It includes the director’s cut of Cold Hard Cash, a re-mastered Capture Device, Stray Bullet, and a new short featuring a chainsaw wielding Evalena Marie (from the upcoming film based on the “Remains” comic written by Steve Niles). Each film is uncensored and loaded with sex, violence, and Suicide Girls! The DVD is jammed to the limit with interactive menus, behind the scenes clips, brand new recorded director’s commentaries and the infamous “Mom-mentaries” (where the director watches the films with his highly opinionated mother) and loads of hidden “Easter eggs.” The disks will be released with 3 limited edition variant covers with artwork from comic book and poster artists as well photography from Pecci.

Mike Pecci’s Grindhouse Shorts Censored from Mike Pecci on Vimeo.

Pre-orders go on sale Monday here.

The first printing of this series will contain a “fan membership card” that will give the owner exclusive access to content and events for the upcoming films.

We love our fans and believe in rewarding their help and loyalty. For a limited time during the pre-sale of the DVD we are running a Promotional Rewards Program.

For every two DVD sales that are made with your name as the referral we will upgrade your DVD to a rare variant cover reserved for this promotional only. Each variant DVD will also come guaranteed with a “fan membership card.” Every 10 DVD’s sold with your name as the referral you will be eligible for a free hoodie! Awesome right?!

The success of independent film depends on word of mouth and we need your support! Thanks guys!

BOILING POINT – Short Film Review

BOILING POINT is not a film with high production value, pretty faces or showy effects. BOILING POINT is at the heart of what the future of great filmmaking is to be, which is exactly the place it has been for some time now… in the hands of passionate indie filmmakers, not held back by a lack of budget or resources. BOILING POINT is an indie film, not without it’s flaws, but rich with unrefined morsels of creative talent just waiting to be polished out from within rigid exterior.

Metronome Productions, a student film company based around Edge Hill University, may not be on the average movie watchers’ map, but the drive with which they are attempting to expose their films to the public is what convinced me to have a look at the film, and ultimately to write this review.

Written by Jack Leigh, who also co-directed the film with Sam Bewick, BOILING POINT is a suspenseful character study that draws on the creepiness of Owen Davis the Private Investigator, played by Christopher Lee Power, a brooding, pushy man with a pale complexion and stress in his face. The younger man being questioned, Paul Connors, is played by Gavin Hodson. The choice of wardrobe, even the casting based on appearances, detract slightly from this characters’ believability. I found the accent, the style of speech and mannerisms intriguing, but had difficulty accepting them as part of the character I saw on screen. I wanted the Paul Connors to appear rougher, or in some way appear potentially dangerous.

The Private Investigator applies his questions slowly, methodically, as we watch the man being questioned slowly unravel. The emphasis on contrast, with the heavy shadows and nearly overblown highlights is standard fair for this sort of story, but what caught my attention in BOILING POINT was the intricate, while not yet perfected, use of the camera. Curious, but understated angles — whereas many students go ridiculously hog wild like a kid with $20 in a candy store — is what keeps the viewer visually connected to the film. There are fluid moving shots and opportune moments, gently revealing character reactions in ways that enhance the characters’ emotions.

As the title suggests, BOILING POINT is interwoven with cutaways of a coffee pot and the like, which not only gives the characters something to do with their hands, but also offers an additional layer of indirect storytelling. In all fairness, the inclusion of the coffee pot element is just slightly heavy-handed, but the edits are well executed and add to the visual dynamics of the film. In fact, the only element of BOILING POINT that distinctly bothers me is a stylistic choice. The flashback scenes are a bit too jarring with the strobe effect, offering nothing to enhance their presence.

About halfway through BOILING POINT, we begin to realize what’s really happening, as the tension increases and the tables begin to turn out of kilter. The film evolves into a revenge story, at moments feeling the slightest bit rushed. We’ve seen this story told before, the suspenseful investigation of a crime that leads down an unexpected path, but BOILING POINT adds a fresh twist to the twist, one that adds merit to the filmmakers choice of popular genre.

If I may indulge myself, I found myself picturing a simmered down Vinnie Jones as the P.I. during a second viewing of BOILING POINT. This is a positive image, but I found myself picturing Seann William Scott as Paul Connors. This, if I were to make assumptions, was not the intent, but that’s merely my impression. In any case, the film works on a fundamental level, it entertains and holds the viewer’s attention, so long as the viewer has an open mind to the truth that all films need not be glamorous Hollywood productions and most worthwhile films are not.

Check out Metronome Productions’ website for more information and other projects.

FAMILIAR Poster – A New Short Film from Fatal Pictures

FAMILIAR is the newest horror short film from writer/director Richard Powell and producer Zach Green. Michael Jari Davidson serves as cinematographer and co-producer. Presented by Fatal Pictures, FAMILIAR stars Robert Nolan, Astrida Auza and Cathryn Hostick as the seemingly idyllic yet ultimately doomed Dodd Family. FAMILIAR is currently in post-production and I’m looking forward to seeing the finished film, from the same team that brought us WORM. It’s difficult to predict what we’ll get from Fatal Pictures, but one thing’s for sure… it’s bound to be dark, disturbing and enjoyable.

Plot Synopsis: Through a series of tragic events a middle aged man grows to suspect the negative impulses plaguing his mind may not be his own.

“Like” FAMILIAR on Facebook.

XTRMNTR – Short Film Review

The golden age of the revenge film has passed, but since the 70’s there’s been a steady resurging trend for more. It’s a popular subgenre, I believe because just about everyone can relate. Who hasn’t, at some point, had something occur in their life when they didn’t secretly desire some form of revenge?

XTRMNTR (2010) joins this growing list of revenge films, a 6½-minute short from writer Phil Jeng Kane, producer Annabelle Fouchard and director Andrew Millner. Shot with a Red One camera over three days in Perth, Australia, the highlight of the film is the production value.

Karl (Vito de Francesco) and Simon (Kazimir Sas) are professional exterminators, on a job setting poisoned gas bombs for a rat infestation. The two characters appear to be average, working-class blokes, but there’s something unspoken between the two men that’s about to reveal itself with devastating consequences. This is where the underlying story begins to develop.

Let’s begin with the end. I won’t ruin the money shot, but I will say that the “big-budget” ending is courtesy of the well-planned use of a house already scheduled for demolition. XTRMNTR is an impressive example of how independent filmmakers can create believably expensive-looking shots and effects without a million-dollar budget.

Cinematographer Rob Castiglione adds to the pleasing production value with his yellow-tinged color palette. There’s a gritty essence woven into the interior shots as Karl and Simon settle an unexpected score. XTRMNTR begins harmless enough, then turns on a dime, revealing the first of two major twists in the otherwise simple story. The depth of story in the film remains rather shallow, but the concise way in which the filmmakers construct the premise makes up for the lack of character development.

XTRMNTR shows potential for high-octane suspenseful cinema. As a feature film, character development could take hold and result in a stronger, longer-lasting impact on the viewer that simply isn’t achieved in 6½ minutes. Regardless, it’s a film that leaves an impression as a calling card for films.

XTRMNTR had its world premiere screening during the Future Shorts One Film Festival in Perth on February 16th, 2011.

“Like” XTRMNTR on Facebook.

I HATE – Short Film Review

What do you hate? Think carefully before answering. You may find that the very things you think you hate are not quite what they seem. Edoardo L’Astorina’s 6-minute dramatic short film I HATE (2011) dares to propose this question, this reflection of what it is to hate, and does so with a respectable flair.

I HATE is written and directed by L’Astorina, whom also produced and provided the music for the film. Clare Latham plays Gloria, a disturbed young woman with a great deal of hatred in her heart. The story presents itself in an experimental fashion. Gloria stands before darkness, clad in a dark leather jacket, smoking a cigarette. Gloria evokes a sort of Denis Leary essence, without the humor, speaking with conviction about all the different types of women she hates.

The style of the film consists entirely of close-ups, with varying angles and perspectives, sharp color and contrast against the black void Gloria stands before. The editing by Robbie Gibbon is particularly strong, jarring and at a pace that encourages the subtlest release of adrenaline. I HATE makes a point to be in the viewer’s face, forcing them to watch and listen to Gloria’s hatred, her pain, her angst. This is an intimate film, a confession.

Charlie Jones serves as cinematographer, confident but not as definitively strong as I would like to have seen. I HATE is an experimental, emotional piece that deserves a ferociously edgy visual element. This is something sound designer David Pringle has managed to convey with a slightly more profound result. As I experienced the film, I found myself far more compelled by the use of ambient and ethereal soundscapes, which allowed the images to speak with more force.

Clare Latham’s performance carries enough range to sell the varying stereotypical characters, culminating in a twist ending that brings the message of I HATE to fruition. While the film starts out feeling a bit like an artsy public service announcement, in the short 6-minute time frame L’Astorina’s vision evolves into something more like a moodier Levi’s commercial, but benefits from an actual point-of-view and purpose.

Check out DendelionBlu to learn more about the filmmaker.

EXODUS – Short Film Review

British writer, director and producer Jordan Barrett offers up EXODUS (2011), a new dramatic short film starring James Hedley and Lawson Hind. Barrett, whose previous credits include the short films PER MARE, PER TERRAM (writer/director/producer) and ASH WEDNESDAY (writer/producer), delivers a sharp sliver of a story that has the potential to be an even more intense feature film, with an ending as appropriately abrupt as it’s beginning.

EXODUS opens much like an episode of a J.J. Abrams television series. The audience is thrown into the middle of Jacob’s (James Hedley) current dilemma, as confused and disoriented as the character himself. Jonathan Armandary’s score is powerful and dramatic, building suspense… and then goes silent, only to be broken a moment later by the harsh, jarring static of a mysterious walkie talkie left with Jacob in the small, enclosed room.

Barrett’s story, only 14:33 in length, stops short of providing any significant depth on the surface. EXODUS, instead, strives to propose an ethical question for the audience to answer themselves, moreover than a clearly defined narrative. Could you choose between the life of a stranger (Lawson Hind) and the life of a loved one? Barrett presents a rare, but horrifying glimpse into a mortal choice that any random human being could have forced upon them against their own will.

EXODUS packs a daunting punch of pending doom, a fear for the outcome, regardless of its final nature. Whatever path Jacob chooses, his life will never be the same, forever haunted by guilt and shame. This tone is reinforced by Scott Coulter’s cinematography is clearly a challenge as EXODUS takes place in a single, tightly enclosed space with a complete lack of natural lighting. As a creative team, Coulter and Barrett prove they can excel at thinking outside the box, even when literally confined to working within a concrete box.

EXODUS recently played at the Inspire Film Festival on Sunday, June 12th, 2011.

Check out the official EXODUS website at www.Exodus.com or “Like” EXODUS on Facebook.

BAD THINGS – Short Film Review

Writer/director Miles Trahan (IN DREAMS — 2009 Short Film) delivers BAD THINGS, a seven-minute short drama about two guys dumping a dead body in the woods. Wait… scratch that. This films not just about two guys disposing of a corpse. Sure, that’s what actually takes place on screen, but the devil is in the details, as they say.

BAD THINGS opens on two men, Peter (played by Ryan Castro, NEVER TOO LATE) and Paul (played by Justin Serrano), both in white shirts covered in blood removing a dead man from the trunk of their car. Peter and Paul carry on about faith and God, karma and redemption, taking two opposing viewpoints on the subject of understanding it all… the easy way, and the hard way.

The pleasant, peaceful setting of the woods in autumn daylight and birds chirping, contrasts with the darker deed being done. While the natural assumption would be to assume the two men are killers, Trahan presents the story in a way that does not answer the question for us… the audience is left thinking at the end of the film, wondering what’s really transpired in the time before the film begins.

I found myself rewatching BAD THINGS 3, 4 then 5 times, desperately trying to pinpoint tiny hints that may lead to an answer, to some better insight into Peter’s character and his uncertainty. Paul is calm and collect, while Peter is torn apart by what has transpired. The dialogue is what shines brightest in BAD THINGS, telling a story that is multi-layered. This is a film that requires the audience to read between the lines, refusing to hand over a clean, simple ending all wrapped up in pretty paper.

BAD THINGS is shot in a single location, over one extended period of time. The film begins as abruptly as it ends, and equally as open to interpretation. The HD-SLR video, shot by Iain Browne, looks great and the audio is equally crisp, complimenting the dialogue-driven story. Trahan shows a greater understanding of film as a thought-provoking art form, and I look forward to seeing his horizons expand into equally riveting subject matter.

I’m drawn to films such as BAD THINGS, films that make us think, not just about the story itself but of higher concepts. I’ve always felt philosophy and film are perfect bedfellows, a perfect artistic means to a greater end. Trahan’s film exemplifies this, but also further proves my point that the best cinema is often the least spectacular cinema. In other words… a picture may say a thousand words, but the right picture only needs to say a few.

Visit Magnificent Waste to view BAD THINGS, and for more information about the movie, the cast and crew. BAD THINGS can also be found on Facebook.

DAMN YOUR EYES – Short Film Review

For most of the general viewing audience, the phrase “Spaghetti Western” conjures on of two reactions: one of nostalgia for a relatively lost genre of filmmaking, prevalent in the 1960’s and 70’s; or one of befuddled curiosity with a side of amused disbelief spurred by the name alone. Younger generations may not even be aware of the sheer joy of the unique classics, both domestic and foreign, that the more seasoned movie lovers experienced from the likes of Sergio Leone and a young Clint Eastwood, just to name a couple.

A few attempts have been made by filmmakers over the past decade or so to reintroduce new fans to the genre, mostly being foreign filmmakers, such as Takashi Miike’s SUKIYAKI WESTERN DJANGO, or Jee-woon Kim’s THE GOOD, THE BAD, AND THE WEIRD. Regrettably, the spaghetti western has somehow slipped the minds on American filmmakers… until now.

Writer and director David Guglielmo has taken the initiative to change that with his short film DAMN YOUR EYES, completed in 2009. The film stars Jakob Von Eichel (Short Film YOUR BEST VIOLENCE; LAW & ORDER TV Series) as Sam, a mysterious stranger that shows up in town, looking for a man who goes by the name “Scott,” played by Angelo Angrisani. During his visit to the town saloon, men fall victim to his quick draw, but only when provoked, leading him to befriend an abused prostitute named Louisa (played by Marisa Costa) whose honor Sam chose selflessly to protect. In return for his protection, Louisa tends Sam’s wounds and discovers his deadly and legendary identity.

DAMN YOUR EYES is as much a 20-minute sneak peak into the filmmaker’s vision as it is a short film on its own merit. Guglielmo is already in the early stages of expanding the short into a feature-length film, and that’s a good thing indeed. While the film does convey Guglielmo’s unique style, it most certainly also draws influence from and pays homage to multiple films, both of the spaghetti western genre and of grind house and exploitation film in general.

I don’t want to give anything away, but in one crucial scene Louisa refers to Sam by his name of legend. This is clearly a wink to perhaps the most recognizable of the spaghetti western films. From those same films, come an actor and filmmaker who we all know as Clint Eastwood. Von Eichel has unmistakably patterned his performance respectfully from the early gun slinging Eastwood, right down to his voice and mannerisms. The visual quality and performances are on par with what the spaghetti western genre is known for, which means this is a compliment. Even the music, used primarily as an audio segue between scenes, is a throwback to the undisputed kind of the spaghetti western score, Ennio Morricone, but is not overused.

While it makes logical sense to draw from the spaghetti westerns of the past when making such a film, DAMN YOUR EYES also draws from more modern cinema, most notably Quentin Tarantino’s KILL BILL. This relationship is most evident in the way Sam is involved with the man called “Scott” and also in the cinematography and editing styles chosen for the flashback scenes, depicting Sam’s motivation for seeking vengeance.

While this is a film that presumably takes place sometime in the late 1800’s, DAMN YOUR EYES does not hold true to the proper language and vocabulary of the period. That’s just fine. The difference between a traditional western and the spaghetti western is that the latter is less concerned with historical accuracy than it is with sensationalized violence and stylized storytelling. Likewise, the violence in DAMN YOUR EYES often takes on a more graphically over-the-top essence of the grind house films of the 70’s, complete with spurting and gushing blood effects that are less realistic than they are exaggerated and pleasantly humorous. These, combined with the more modern “adult” language, just make the film more fun and I am absolutely fine with that.

DAMN YOUR EYES is a bit of a tease, meaning the film ends at a key turning point in Sam’s story, leaving the viewer ferociously hungry for more. This is a brilliant strategic move on the part of the filmmaker in setting the audience up for demanding a feature film, a promise that I am eager to see followed through.

TELL ME YOU LOVE ME – Short Film Review

TELL ME YOU LOVE ME is an intensely personal short film co-written and co-directed by Gary C. Warren (THE PATH OF TORMENT, BEST LAID SCHEMES) and Sharon Wright.

Sharon Wright (CANDY APPLE RED, THREE BLIND SAINTS) also stars in the film as a woman tormented by the memory of a violent act committed against her in the past. Now, with everything around her a reminder of what she has endured, emotions boil to a head, leading to an ironic conclusion.

This 5-plus minute short film is a dramatic thriller that packs an audio/visual wallop to accompany the equally emotional story. Warren’s style comes through primarily in his editing, as is the case with his two feature films as well, cutting abruptly and precisely to associate disconnected moments in time and evoke and enhanced sensory response. Warren’s choice of music for the soundtrack is also significant to the filmmaker’s interpretation, which was inspired by actual events.

Wright, an actress and model who has a charming and innocent glow about her, puts all of that on the line in this role, which demanded both physical and emotional turbulence. Jeffrey Staab (LAST WILL, ALL ROADS LEAD HOME) plays the man who commits the act of violence on Wright’s character. A slightly older man, but clearly unstable, his character is the catalyst for the woman’s anxiety and fear that haunts her daily life, made evident by Wright’s performance.

TELL ME YOU LOVE ME is a film that offers a lot in a very small package. The film will premiere as past of the Bare Bones International Film Festival on Wednesday, April 27th at the Oklahoma Music Hall of Fame and Museum, followed by a string of other festival appearances.