Tag: Film festival

SLIFF 2010 Review: BOMBER


Review by Dane Marti

Directed by Paul Cotter, this U.K./U.S. co-production is possibly my favorite of the recent films I’ve seen for the festival:  BOMBER reminds me of the great Ealing films of the postwar 1940’s and 1950’s British films that were done with such skill, such cunning and such undeniable precision to craft that it often made the yank’s Hollywood work of the same period appear gaudy by comparison. Ealing did such quality work as the inspired genius of ‘Kind Heart and Coronets,’ ‘The Lavender Hill Mob’ ‘The Man in the White Suit’ and the original ‘Ladykillers,’ among many other great works.

Like, THE END, the Hungarian film that I recently enjoyed, this clever flick also deals with an elderly couple. Is something in the water? Are the elderly the next Big Thing in cinematic entertainment?  Move over Justin Timberlake! Yep, that’s correct, kiddies: I’m talking about OLD PEOPLE. And they can act, too. In particular, the old gentleman at the center of this poignant film:  His name is Alistar (played with subtle honesty by Benjamin Whitrow).

Now let me explain this first off:  years ago I wouldn’t have appreciated this work. Oh, I would have seen it and smirked, but… I wanted youthful, underground, grungy, in-your-face power cinema. However, now that I’m in my latter — ancient — 40’s, this film’s winningly simple subject matter has taken on a bountiful new amount of relevance, what with my own folks getting up in years themselves.  Anyway, it’s great to see films dealing with people — married people — in the autumn of their years. And these are definitely not films that withhold blemishes…

So… an elderly man has his own private bucket list the things he has longed to do before he shuffled off the earth. He wants to visit Germany and resolve some ‘issues’ from his distant past — a past that everyone under the age of 60 seems determined to forget.  He is quiet and reserved, a man from ‘the Greatest Generation’. He speaks “The king’s English.” He reminds me a little bit of my father. His wife (with facial expressions that convey so much frustration and compassion, is played by Eileen Nicholas — of  ‘Trainspotting”) has much the same temperament as her husband. Well… she is more compassionate and open, but she stands by her husband. She is the rock behind the throne, if this simple man could be considered a king. Their ‘arty’ son (Shane Taylor — amazingly sensitive and over-expressive. He was excellent in ‘Band of Brothers’) is the compassionate, modern product of Art College, but with no job whatsoever. Near the start of this semi-humorous film, his girlfriend of a year and two months breaks up with him. I love films that demonstrate conflicts, the type that happen in every family’s lives. The storyline doesn’t appear forced, only honest in its cinematic intentions.

In keeping with the sub-genre of The Road Movie, the elderly couple — with their hapless son in tow — leave England on a trip through Europe. Everything in the movie is down with style and substance. It is also very funny, but understated. Peter Sellers, Woody Allen, Mel Brooks and Monty Python exempted, I really do appreciate situational comedies in which the humor is a direct outgrowth of the characters and story. Still, I’m not giving up The Marx Brothers! Nope.

This is a beautiful film in every way: professionally shot with slick precision, with excellent location photography of Europe and just the rights touch of humor. I especially loved the small roads the British Family traveled through on their misadventures: for instance, the wonderful, old trees stationed closely along the small roadways like white-barked sentinels. Nothing in the film is completely wrapped up in a neon bow by the conclusion of BOMBER, but you do get a feeling that the small cracks within this families’ relationship might take a turn for the better. Let’s hope — I really liked these people.

BOMBER will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 12th at 4:30 pm and Sunday, November 14th at 9:15 pm at Plaza Frontenac Cinema.

SLIFF 2010 Review: GOD’S OFFICES

Review by Dane Marti

I guess I should admit right off that this was a film that I certainly didn’t necessarily want to review. Its not that it didn’t sound interesting (it didn’t) but that I think the best person to write a review of an abortion clinic. I was partially wrong, as I am on many subjects. I think this is an important film for any man to see, especially since many men often think of sex as something pleasurable, the women ‘ho’ and the problems associated with the choice something to put out of mind until much later. The serious issues that go beyond intercourse and/or love are the major reason to watch this film. If nothing else, it could spur after-film conversation.

Directed by Claire Simon, this is a fascinating film that pulls a viewer into its reality using a potent, quasi-documentary feel. In that respect, it is perfect. Filmed in a sterile, Cinema Verite style which keeps a documentary feel through it’s panning, one-take shots, I had to keep reminding myself that it was not a documentary. However, as we all know, even actual documentaries are constructed and edited – they have a definite p.o.v. And frankly, cannot be considered real or the truth. Here, it is easy for the viewer to become lost in the reality of what he or she is actually viewing, so realistic is the film’s acting, writing and overall look.

For just a little while, I had to ask myself why the filmmakers hadn’t actually done a documentary on the serious subject. Then I realized: “Lunkhead! It’s because most women would rather not be interviewed or partake in a documentary on this subject” This way of proceeding with a film is also a convenient way for the director and writer to get all their pertinent information, their ideas within the proper structure, including the emotions of the young (and occasionally older) women who come to the clinic looking for either answers, questions or a solution to a serious problem that torments them:

Whether it is young women wanting to get on ‘the pill,’ proper usage of condoms, the intricacies of family and relationship conflict or the big one: An Abortion, the film utilizes an armada of actresses and actors to highlight and delineate the frustrations, the pain and the confusions of both the people who come to the clinic as well as the completely human therapists and doctors.

GOD’S OFFICE will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 12th at 4:15 pm and Monday, November 15th at 9:15 pm at Plaza Frontenac Cinema.

SLIFF 2010 Review: THE END

Review by Dane Marti

THE END  is a poignant, jewel of a film that explores how elderly people react to one another and the world around them. After all, they realize that ‘the end’ of life is arriving not too far down the road. However, while this sweet and slightly antiquated couple definitely need to rekindle their love, the film cleverly captures the reactions of many young people populating the story who have made up their mind about the elderly folks; Unfortunately, these young, beautiful people are more than ready to push old fogies into a symbolic nursing home.

Gabor Rohynyi is a subtle, yet exacting filmmaker who can entertain while still getting his message across. All the filmmakers involved with this tale make good use of their low budget style, making a film that might have been depressing into an honest, entertaining romp. Why?  well because it isn’t just a documentary on the sad realities of life, but a crime film, a black-humor misadventure that contains just enough pathos, irony and wit to keep it moving along. Reminiscent of films such as, ‘Going in Style’, the film will probably hit a chord with octanagerians and people who dig independent films alike.

The film explores why a person (whatever their background or age) would be driven to a life of crime, but on a deeper level, it is simply about the age-old conflicts, and a couples’ deep love… a love that permeates in many old, weatherproof and good relationships.

The basic story: An old couple has had ‘a bond’, a connection to each other that has lasted through past dark times. This is shown through flashbacks that show the innocence of the old couple back when they meant, but is a little hard to follow, having something to do with Communism. This isn’t explored in the film to any serious degree, just back-story. A pair of earrings plays a part in the bond.

What is essential is the old couple:  quietly, often silently dedicated to one another. As they do not have many years left, money is still a problem. The film slyly demonstrates another reason why frustrated folks go “on the lam.”  It also pokes fun at the conventions of the crime film — including Spielberg’s SUGARLAND EXPRESS,’ Arthur Penn’s BONNIE AND CLYDE and even Ridley Scott’s THELMA AND LOUISE.  There is a special bond between all of these ‘criminals’ garnering the love and affection of the downtrodden on the outskirts of society.

The acting of the elderly couple never seems forced or unconvincing. Shadowing them are a young couple who recently broke up due in major part to the fact that he had been with a voluptuous stripper during raucous party. Their love for each other, like the old couple, is still evident beneath the eyes and the unspoken glances that they give each other. This is compounded in the story by the fact that they are both police officers, forced to work together and find the silver-haired bandits.

The old couple are simply pensioners with little money, going into the autumn of life—and wanting to do it with a little finesse: they want dignity and purpose. As far as their outlandish turn to robbery, it also gives the pair the added bonus of a new lease on life. Like ‘Natural Born Killers without the gore and cinematic excess, these ‘criminals’ demonstrate the basic idea that love can take many forms, that it can, in fact, still be passionate and real whatever a person’s age. The ending has a clever surprise that many people might see coming a mile away. I did not. However, I appreciated the films easygoing style that — while entertaining — never degenerates into slapstick and keeps the suspension of disbelief going with touches of realism.

THE END will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 12th at 2:00 pm and Thursday, November 18th at 9:30 pm at Plaza Frontenac Cinema.

Celebrating Akira Kurosawa at 100

Akira Kurosawa (1910-1998) was one of the greatest filmmakers of all-time and yet, I’d bet most people have never even heard of him. That’s a shame, because his long and extremely accomplished career has produced some of the most beautiful, most influential films the world has ever seen. Viewing, no… experiencing Kurosawa films such as RASHOMAN, IKIRU, RAN or THRONE OF BLOOD are simply a necessity of life, something that must be done before one dies. Period.

Filmmakers across the globe have drawn endless inspiration from Kurosawa’s work, including the Hollywood remake of SEVEN SAMURAI (THE MAGNIFICENT SEVEN), the spaghetti western remake YOJIMBO (FISTFUL OF DOLLARS) by Italian filmmaker Sergio Leone and even George Lucas himself has cited Kurosawa’s THE HIDDEN FORTRESS as the inspiration for his creating C3PO and R2-D2.

So, with such a powerhouse of cinematic prowess and one of my top 3 favorite filmmakers of all-time, it’s certainly a cause to celebrate Akira Kurosawa’s centennial. This is why I am proud to announce that the Webster University Film Series — right here in my hometown of Saint Louis, Missouri — will be presenting 17 of Kurosawa’s incredible films over a one month period beginning today, July 2… all on glorious new 35mm prints, some of which recently restored!

Check out this basic full schedule here, but be sure to visit the Webster Film Series’ website
 for more information on tickets and short synopsis of the films.

Ran — July 2, 3, 4, 5, 6, 8 @ 7:30 pm (1985, Japan, 160 min)

Drunken Angel — July 9 @ 7:30 pm (1948, Japan, 98 min.)

Stray Dog — July 10 @ 7:30 pm (1949, Japan, 122 min.)

Rashomon — July 11 @ 7:30 pm (1950, Japan, 88 min.)

Ikiru — July 12 @ 7:30 pm (1952, Japan, 143 min.)

The Seven Samurai — July 16 @ 7:30 pm (1954, Japan, 207 min.)

I Live In Fear — July 17 @ 7:30 pm (1955, Japan, 103 min.)

Throne Of Blood — July 18 @ 7:30 pm (1957, Japan, 107 min.)

The Lower Depths — July 19 @ 7:30 pm (1957, Japan, 125 min.)

Hidden Fortress — July 23 @ 7:30 pm (1958, Japan, 139 min.)

The Bad Sleep Well — July 24 @ 7:30 pm (1960, Japan, 150 min.)

High and Low — July 25 @ 7:30 pm (1963, Japan, 142 min)

Red Beard — July 26 @ 7:30 pm (1965, Japan, 185 min.)

Yojimbo — July 30 @ 7:30 pm (1961, Japan, 110 min.)

Sanjuro — July 31 @ 7:30 pm (1962, Japan, 96 min.)

Kagemusha — August 1 @ 7:30 pm (1980, Japan, 162 min.)

Dreams — August 2 @ 7:30pm (1990, Japan, 119 min.)

SXSW Review: TINY FURNITURE

TINY FURNITURE is a remarkably successful comedy, smart and witty, from a young and promising filmmaker. Lena Dunham wrote, directed and starred in this somewhat quirky tale of Aura, a young woman recently graduated from college. Having returned home to her often oblivious and distant mother, she finds her life takes a backseat to her mother’s art and her younger sister’s needs. Aura struggles to find her place not only at home with her family but also in the world, as she grapples with what to do with her life, post-college.

Aura’s mother Siri (Laurie Simmons) is a strange and peculiar woman, devoted to her work over her children, but isn’t fully self-aware of this flaw in her character. Aura’s sister Nadine (Grace Dunham) is a bit of a spoiled brat, hogging what little attention is to be had from their mother treating her own sister as an unwelcome intruder in their home.

For such a young filmmaker like Lena Dunham, TINY FURNITURE is an amazing first outing and promises a bright future. The visual storytelling has a slightly surreal feel to it, especially while at her mother’s home/studio… white, sterile and very modern-artsy. Dunham uses this setting as a platform for metaphorical humor, particularly the white cabinets.

The dialogue and humor in TINY FURNITURE is clever, fast-paced and points to a common theme throughout the film of cynicism about the world and life in general. Aura attains a job as a day hostess, which she grows to hate. Aura’s questionably British friend Charlotte (Jemima Kirke) pushes her to be more spontaneous, while her college pal Frankie (Merritt Wever) pulls her towards a more sensible view of the world.

Meanwhile, Aura juggles relationships with two guys, both of whom are less than ideal and have their own peculiarities. In essence, TINY FURNITURE is a film about an unpretentious young woman surrounded by pretentious people, as she attempts to discover her own path in life.

Each of these relationships helps Aura to formulate her own sense of self, one which continues to be a work in progress by the end of the film. There’s a clear element of SEINFELD that has embedded itself into the tone of TINY FURNITURE, but it’s a subtle influence, whether intentional or not.

Overall, TINY FURNITURE is a creative, fresh and funny story about a young college graduate that we all can relate to in some way, not just the New Yorkers. There’s a pleasing philosophical undercurrent that runs through Dunham’s film, which makes the audience think as they’re entertained.

Overall Rating: 4.5 out of 5 stars

SXSW (Short) Review: OUT OF NOWHERE

OUT OF NOWHERE is a strange and mysterious film that combines the bizarre mentality of David Lynch with the curious displacement of time and space reminiscent of stories from THE OUTER LIMITS or THE TWILIGHT ZONE. The film could be described as a darker, grittier sort of GROUNDHOG’S DAY, but in Will Lamborn’s short film there is no clear and evident happy ending, leaving the audience wondering what the heck just happened… or, more appropriately… what the heck is happening?

This sense of bewilderment is not a negative criticism of OUT OF NOWHERE. In fact, its what makes the film interesting. Unlike the more readily accessible and standard feature film, a short film has the luxury of bending or even breaking the rules. Filmmakers get to experiment with short films and it produced some rather interesting results. OUT OF NOWHERE is an example of this experimentation. The story wets the appetite, gets the audience talking and sets in motion discussion.

Peter (Dominic Spillane) is riding in a car with Josh (Robert W. Evans) down a desolate and lonely desert road when Josh suddenly pulls over, claiming engine trouble. As a result, Peter finds himself trekking alone though the middle of nowhere, searching for a way to escape when he stumbles upon a small house. Upon entering the house, he meets a peculiar couple named Curtis (John Henry Whitaker) and Mary (Samantha Colburn), quickly discovering something simply is not right about them or this place.

Peter finds himself repeatedly thrown into a familiar situation with familiar people, but the scenario keeps changing just slightly as he attempts to figure out a way to escape the nonsensical reality he has somehow fallen into. Spillane and Colburn convey an attractive but dangerous familiarity, something similar to that of Kyle Maclachlan and Isabella Rossellini in BLUE VELVET. The story has an unsettling intensity that builds into a crescendo of characters’ roles being rearranged, implying and endless cycle.

OUT OF NOWHERE is an enjoyable cinematic experience, presenting a wonderful “what if” plot that twists itself inside-out and begs to be expanded into a feature film. Whitaker gives Curtis an ambiguous quality that confuses the audience as to whether he’s a threat or not, while Spillane’s and Colburn’s chemistry demands more revelation. To find more about the film or to support the filmmaker, visit their website at outofnowherefilm.com.

SXSW Review: WINTER’S BONE

WINTER’S BONE, quite possibly, is one of the top five best films to see in 2010. Based on the novel by Daniel Woodrell, the film is co-written and directed by Debra Granik, a New Yorker who has taken great care in meticulously ensuring an authentic and honest portrayal of the Ozarks region of Missouri, the people and culture and the struggle beset upon the impoverished families.

Jennifer Lawrence (THE BURNING PLAIN) plays Ree Dolly, a resourceful and determined 17-year old girl living in the rural Ozarks, caring for her sick mother and two younger siblings. The Dolly family has a history with the law, a reputation Ree wants no part of as she takes care of her family in the absence of her father. The dilemma for Ree is that her father placed their small house and land up as collateral for bail and if he doesn’t show up for court Ree and her family will lose what little they have.

Debra Granik (DOWN TO THE BONE) sticks surprisingly close to Woodrell’s book, capturing the details of life in the Ozarks with amazing accuracy. The language, the relationships, the traditions… its all there to illustrate for audiences the fully encompassing picture of what life can be like in the region. Granik maintains an emotional and suspenseful razor’s edge throughout the film as we follow Ree through her desperately fearless quest to find her father before its too late. On this journey, we’re introduced to hardship, the scope of family ties and the devastating yet unfortunate necessity that homemade meth labs have grown to play in the lives of some Ozark families.

Filmed using a RED One Camera, WINTER”S BONE is an indie film that features HD quality cinematography from Michael McDonough (DIGGERS, QUID PRO QUO) while also maintaining a brilliantly cinematic feel. The images appear as though shot on film, allowing the texture of the wooded setting and the earthy tones of the otherwise gray and brown land and sky to pop with depth and detail.

Lawrence delivers an outstanding performance as Ree, a young woman driven by her moral compass and sense of duty to her family. Ree persists in her efforts to find her father, despite warnings from family and neighbors not to pursue this dangerous inquiry. WINTER’S BONE presents a conundrum for Ree, relying cautiously on the same family ties as are putting her in danger. The existence of meth labs and trade as income is no secret, but to pursue her father is synonymous with Ree exposing their secrets in an unwelcome way.

The intensity given on screen by Jennifer Lawrence is matched only by the frightening performance from John Hawkes (DEADWOOD, AMERICAN GANGSTER) as Teardrop, Ree’s uncle and brother to her father. Teardrop is a strong and intimidating character, one that few of the locals dare scrap with, but Hawkes manages to also fully envelope the softer side of Teardrop buried deep within himself, a connection to his family responsibility that slowly forces its way up to the surface.

While WINTER’S BONE is an entirely different movie from O BROTHER WHERE ART THOU, traditional music from the region plays a crucial role in the film in much the same way, setting the place and tone of the story. The incredibly beautiful folk and bluegrass music in WINTER’S BONE digs deep into the soul of the audience. The film features original music by Dickon Hinchliffe (COLD SOULS) and a mesmerizing onscreen performance by Marideth Sisco as a participant in a group pickin’ session that Ree encounters.

Overall, WINTER’S BONE is a powerfully dramatic story that plays in a subtle enough fashion to maintain its realism. The story evokes mystery, placing Ree in the role of the meddling detective, while Teardrop takes on the veil of the anti-hero. There’s a clear parallel to classic film noir structure without becoming cliché. The dynamics of the characters throughout the film are well played, admirable considering many of the characters onscreen are non-actor locals. WINTER’S BONE is a film that can be enjoyed and appreciated by all, a sincere telling account of real life ordeals.

Overall Rating: 5 out of 5 stars

SXSW Review: MONSTERS

MONSTERS is a film that shoots itself in the foot, undeservedly, with a misleading title. Intentional or not, the title would give the average moviegoer the impression of scary creatures of some sort, wreaking havoc upon unsuspecting citizens within the confines of the horror of science-fiction genre. This turns out to be only partially true, but merely as a vehicle for the primary story.

Written and directed by Garreth Edwards, MONSTERS is primarily a love story, lightly flavored with a socio-political sci-fi glaze that adds a hint of excitement to otherwise slow, but curiously interesting story. The director deserves his props, considering the entire movie was created from his laptop. Impressive, no matter how audiences view the finished product.

The story follows Andrew, played by Scoot McNairy, a struggling photojournalist working south of the border with hopes of catching tragically graphic copy to earn his a decent wage. As the character explains, photographs depicting children killed by the foreign creatures pay well, while images of safe and happy children pay nothing. It’s an unfortunate, but blistering reality of the demand within the journalism market. Andrew meets Samantha in Mexico, played by Whitney Able, daughter of a wealthy media mogul and Andrew’s employer. He is tasked with safely returning Samantha to the United States, but the pair will find this proves more easily said than done.

Simply speaking, the “monsters” within the film are large, exotically designed alien creatures that have overrun the border region between the USA and Mexico as the result of a meteor crash. Their existence, origin and purpose are left for the audience to glean from their own imaginations, while the film’s focus is firmly geared towards the developing relationship between Andrew and Samantha.

With the “infected zone” quarantined and closed off to the general public and the last ferry to the States out of their grasp, the pair is forced to venture illegally into the dangerous infected zone to cross the border into the States illegally. Their journey is filled with real and implied risks, but what fills the screen time is the unlikely and rocky path on which this pair reluctantly develops an interest for each other. In essence, sharing this rough and risky journey brings the two together, with an aggressive alien infestation as a backdrop.

Conceptually, MONSTERS is a tremendously ambitious and promising story. The filmmaker’s execution bares some flaws in tone and pacing, but otherwise holds up well enough to secure a predictably modest following, especially over time. The special effects are impressive, considering the limited resources and path by which they came to be, but in the later portion of the film feel a bit unwelcome, stealing more than their share of screen time without any immediately recognizable purpose.

Overall, MONSTERS is a moderately successful experiment in genre crossbreeding. The film vaguely mimics some popular contemporary films as stylistic influence, including CLOVERFIELD and THE MIST, but maintains its own footprint. Despite the flaws, MONSTERS is worth checking out, recently made more accessible by its distribution deal with Magnet.

Overall Rating: 3 out of 5 stars

SXSW Review: PUTTY HILL

PUTTY HILL is a film that thrives on its authenticity, portraying a clutch of realistic characters in an impoverished area of Baltimore, all connected and affected by the death of a young man, taken by his addiction to heroine. The film, directed by Matthew Porterfield, explores these relationships and character interactions, all revolving around the recently deceased Cory, whom we never meet outside of impressions we glean from the characters in the film.

Constructed almost entirely in the moment, PUTTY HILL was filmed from a basic outline and premise and is cast entirely with local, non-actor residents of the area. This risky method pays off, creating an atmosphere rich with chemistry, conflict and a mixed urban culture. The filmmaker takes his camera around the neighborhood, casually interviewing family, friends and acquaintances of Cory, occasionally breaking the fourth wall. The audience never sees or is introduced to the filmmaker asking questions, but the sporadic inclusion of the off camera encouragements and inquiries adds to the realistic and spontaneous feel.

PUTTY HILL takes this hypothetical scenario and runs with the concept, giving the on screen participants fairly free reign over the material, allowing them to make their characters their own, perhaps even mirroring their own lives in ways that allow the audience an intimate, inside look at the heart of the people, unaffected by the filter of experienced actors. In many ways, the film is more of a social role-playing experiment than it is a traditional narrative film.

While the initial 15-20 minutes of PUTTY HILL can take some patience, once accustomed to the filmmaker’s underlying idea behind the movie the experience sinks in and takes hold over the viewer’s attention. The conversations that take place do not feel forced or staged, further giving evidence to the likelihood of these stories and characters are originated in these peoples’ real lives.

PUTTY HILL contains conflicts as well as reflections on the past. Family dynamics play a major role, much of it dysfunctional. Equally present and perhaps even more intriguing are the more touching and poignant moments. This is especially true of a lengthy scene depicting Cory’s wake, with many family and friends having turned out. The scene paints a lovely picture of people putting aside their differences and coming together to celebrate a loved one’s tragically short life. The occasion is celebrated with karaoke, surprisingly doing justice to the mood of the scene.

Overall, PUTTY HILL is a satisfying cinematic experience, a study of human nature, turning the tables on the topic of death. Instead of focusing on the deceased, the film focuses on those close to the deceased and how their lives are affected by their loss. PUTTY HILL is appropriately slow in pace, but not boring. It’s a film that doesn’t preach or judge, but does stick around long after the film ends and grows on the viewer in a positive way.

Overall Rating: 4 out of 5 stars

SXSW Review: COLD WEATHER

COLD WEATHER manages to take two underlying story ideas and combine them into a conceptually intriguing film, one that is partially successful and partially missing its full potential. Aaron Katz (DANCE PARTY, USA) wrote and directed COLD WEATHER, beginning with a story about an estranged brother and sister and wraps it up loosely with a film noir jacket, vaguely reminiscent of Nancy Drew and the Hardy Boys.

Doug (Cris Lankenau) is an intelligent young man having studied criminal justice and forensic science, but who has taken time from school to find work and save some money. His passion lies with becoming a detective, romanticized by the literary notion of Sherlock Holmes as his ideal role model. Initially mocked by others for his source of inspiration, Doug is quick to dispel their misguided notions of Holmes as depicted in early films as a caricature of the true literary figure.

Doug gets a job at an ice factory, where he meets Carlos (Raúl Castillo) and they quickly become friends. When Carlos’ girlfriend goes missing, Carlos enlists the reluctant help of Doug to solve the mystery of his girlfriend’s disappearance. Once Doug finally discovers compelling evidence that something is amiss about the circumstances surrounding Carlos’ girlfriend, he begins to put his knowledge into play, seeking her out and revealing the truth of her behavior.

What begins as a solitary pursuit, eventually evolves into a mutual effort between Doug and his sister Gail (Trieste Kelly Dunn) who end up working together to solve the mystery. The estranged siblings begin with a troubled relationship, distant and at odds over Doug’s path in life, but becomes a way for them to reconnect with each other and presents the most intriguing element in COLD WEATHER, merely enhanced by the mystery flavoring.

Generally speaking, COLD WEATHER is a successful film that explores some untested water in terms of family relations. The pacing is a bit slow at times, with the high moments rising above the more abundant low moments. The story itself is intriguing, if not a bit slow moving, but I would have liked to a little more of the relationship develop between Doug and Gail a little sooner in the story arc and not put quite so much focus on the mystery of Carlos’ girlfriend.

Visually, COLD WEATHER is impressive, featuring a palette of grays that brings the setting of Portland, Oregon to life through the use of the RED digital camera technology. The film features some incredible shots, including one of Doug and Gail standing on a bridge in front of a waterfall which utilized an expensive and powerful hi-tech lens, giving the film some additional visual appeal. For this, additional praise goes out to Andrew Reed (QUIET CITY) for his cinematography, accompanied by solid editing, also from Aaron Katz.

Overall, I consider COLD WEATHER to have a compelling story with untapped potential. The film deserves a second viewing and, dare I say, could prove an intriguing source material for an ongoing dramatic TV series based on the relationship and cooperative mystery-solving efforts of the sibling team.

Overall Rating: 3.5 out of 5 stars