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Antoine and Colette (Short Film)

18 Mar

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Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

One of my favorite films is Francois Truffaut’s 1959 masterpiece, “The 400 Blows,” about a troubled kid named Antoine Doinel (played by Jean-Pierre Leaud, who would appear in more Truffaut films to follow). Even though I knew Truffaut made four follow-ups to the film, showing the boy grow into adulthood, I wasn’t in a huge hurry to seek them out because the ending to “The 400 Blows” practically demanded I decide for myself what the future held for this poor boy who had already ticked off his parents, committed petty crime, and ran away from juvenile hall.

But you can’t blame me for being curious. It’d be like only watching the first entry in Michael Apted’s “7-Up” documentary series and not knowing in the slightest how much Suzy had changed. So, I checked out “Antoine and Colette,” a 29-minute short film Truffaut made just a few years after “The 400 Blows.”

It’s nice to know Antoine is trying to better himself. Now 18 and living a life of (mostly-) solitude,  he supports himself by manufacturing LPs at the Philips factory in Paris. He still has an artistic, poetic edge to himself that was introduced in “The 400 Blows”—he still goes to the movies and he listens to opera and classical music. (He also spends time with Rene, a friend from “The 400 Blows.” We get a flashback to remind us of their friendship.) And Leaud still nails the part wonderfully; it’s like he and Truffaut shared a deep connection in how the character should develop. (I especially like an opening scene in which he wakes up one morning and reaches on his nightstand for a hardly disposed cigarette to smoke.)

One night at a musical concert, Antoine spots Colette (Marie-France Pisier), a slightly-older, beautiful woman, with whom he falls in love. They share a nice friendship, and Antoine is adored by Colette’s parents (who seem much better to be around than Antoine’s own parents, with whom he doesn’t seem to communicate anymore). He even moves into a place across from Colette and her family, to literally get closer to the woman he loves. But does she love him? Like most young loves, it’s hard to tell when emotions are clearly expressed to one another. He can’t take this mind game anymore and lets her know how she feels, and…well, the ending is true, but that doesn’t make it any less heartbreaking.

Now that Antoine is older and independent (and alive), he can start going through the emotions that all young adult men face, such as unrequited love. And because the character is so charming, and Truffaut obviously had an affection for him (and people have speculated that Antoine is Truffaut’s alter-ego), I can’t help but hope for the best while also want to let him know somehow that things are going to be OK and it happens to us all.

After this short came three feature films that continued to keep up with Antoine’s life: “Stolen Kisses,” “Bed and Board,” and “Love on the Run.” I may check those out too…maybe.

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The Gotham Knights Event – Part One – All That’s Left (Short Film)

14 Sep

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Smith’s Verdict: ***

Reviewed by Tanner Smith

It’s been years since I reviewed a short film…here goes.

We’ve seen many incarnations of Batman the Dark Knight of DC Comics, from silly & campy to dark & complex. Then we get a chance to see fans (who are also micro-budget filmmakers) do their own take on it, creating a nonprofit fan-made web series called “Gotham Knights.”

Available on YouTube*, “Gotham Knights,” created by CK Helms and Timothy Drennan, is a slickly made, enjoyable series of short films centered around characters based on the DC Comics characters—Bruce Wayne (Batman), Dick Grayson (Robin), the Joker, the Red Hood, and more. Picking up where the series’ 4 previous shorts left off, we have Part One of a new story, titled “The Gotham Knights Event.” Batman has been missing for a couple of years, Barbara Gordon and Dick Grayson are trying to live normal lives while struggling with grief, and the Joker has returned to Gotham. Those are the basic essentials for the story so far. Part One, titled “All That’s Left,” is merely a setup for something bigger to come. There isn’t much I can say about it, except to say whether or not it had me interested enough to want to see the rest of the oncoming series. And did it?

Thankfully, the answer is “Yes.” I enjoyed “All That’s Left,” though the element I enjoyed in particular was the actor playing the Joker: the film’s director himself, Timothy Drennan. When he’s first introduced here, there’s a quick moment in which he murders a henchman midway through playing friendly towards him—in that moment alone, Drennan captured the spirit of the Joker and carried it through the rest of the film. (I replayed that part repeatedly, I thought it was so funny.) Wherever the story goes from this point, I’m willing to follow.

Much of the film involves Dick (Ryan Mullins) and Barbara (Sarah Ring) as they discuss where they are in their own lives and how they can work together for the future. It’s not particularly interesting, but it’s only Part One; maybe it’ll get better. (Though, further considering the ending “All That’s Left” goes with, I can almost guarantee it will be more interesting, whether I know what happens or not.)

“Gotham Knights” is basically “Batman” with a small budget. There’s definitely passion put into each episode, and that passion continues with “The Gotham Knights Event.” It’s what makes the series interesting and fun to watch, and I’ll be interested to see what comes next, in Part Two…

*The Gotham Knights YouTube channel can be found here: https://www.youtube.com/channel/UCFiLCqpUd-3GlCb4cl4KhtQ

Beyond the Bridge (Short Film)

22 Jan

Smith’s Verdict: ***1/2

Reviewed by Tanner Smith

In Seth Savoy’s 10-minute short film, “Beyond the Bridge,” set in World War II, a Cajun-American spy (Stephen Brodie) is sent on a raid to steal German maps so the Americans can have a major advantage. But on his way back, he collapses from exhaustion and ends up falling asleep, only to awaken and find his life in peril when he comes across German soldiers. I know the idea of someone collapsing in time of desperation and need for triumph is difficult to swallow (and I thought so too), but if he wasn’t merely a spy, it would’ve been even less understandable—it’s never specified how experienced he is (though, if he’s inexperienced, why send him on the mission to begin with?). But maybe I’m overthinking it, and I’m willing to overlook it, because it’s possible that something like this does happen (or did happen). The film itself is very well-done.

“Beyond the Bridge” is Savoy’s follow-up to an excellent short he co-directed three years ago (“Blood Brothers,” also reviewed by me), and it’s a well-made, effectively complex war drama-thriller. The acting is solid, especially from Tom McLeod who is effectively despicable as a Commandant and an expressive Harley Burks as a conflicted German soldier. The cinematography by Robert Patrick Stern is outstanding, with every shot brilliantly handled. And the film is rich with atmosphere—when the protagonist is in danger, it’s easily believable. While I was watching the film, I quit thinking about the probability of what got him into this predicament and instead imagined myself in his place at the point where he notices trouble signs; thinking about what I would do, how I would handle it, etc. and being unnerved myself in the process. It’s to Savoy’s credit as a solid filmmaker that he made me care and made me wonder. The rest of the film is just as efficiently unsettling.

The film’s running time is only 10 minutes, which is probably how long it needs to be. But honestly, I wouldn’t have minded another 10-15 minutes of this material handled by this crew. “Beyond the Bridge” is unsettling, deep, well-directed, gloriously-shot, well-acted, and not a film I’ll forget anytime soon.

Whiz Quiz (Short Film)

16 Sep

Smith’s Verdict: ***

Reviewed by Tanner Smith

It is almost ridiculously easy to criticize the UCA-produced short film “Whiz Quiz.” It’s vulgar, crude, raunchy, stupid, disgusting, over-the-top, ridiculous, and more. But hey, that’s the film’s purpose. I just pretty much described the film in those numerous adjectives. So what does it matter? Does it work for you? Did it work for me?

I recall seeing “Whiz Quiz” at a screening in Hot Springs. The audience was packed and as far as I could tell, a good majority of it was laughing out loud and exclaiming in fear and disgust (and also delight). But there was still a minority of audience members who were grimacing in a different way. And I recall a story from the film’s lead actor, Tres Wilson, that very evening. He said someone came up to him, asked if he was in the film, leaned forward, and said “Garbage,” in reference to the film.

Needless to say, a film like “Whiz Quiz” is not going to appeal to everybody. That’s because it’s a comedy. Humor is subjective—you either laugh or you don’t. And I’ll admit, after seeing it for the first time, I felt the need to not only take a shower but also gargle some mouthwash. But the second time around, I did laugh more and I wondered if it truly was the purpose of the film to gross people out.

The film is about three perpetually stoned man-children (played by Wilson, Colin Bennett, and Ben Gibson) trying to figure out how to quickly pass a drug test for Wilson’s new job. Let me give you an example of the film’s dirty humor—the boys come to a public school and attempt to collect urine in a bathroom; a janitor (Frank O. Butler) comes in and assumes the boys are there for a custodial job; he locks the door, lets his pants down, and attempts to “initiate” the scared boys, who distract him (while he’s blindfolded) with a dildo and some hand sanitizer (don’t ask). The whole sequence is generally uncomfortable, I’ll admit, but the shots used and the slow pacing (which raises suspense) made me appreciate what the filmmakers, including writer-director Brock Isbell, were trying to get away with and I did laugh as much as I groaned. It’s almost kind of admirable. Another example is when Wilson attempts to detoxify his body and he vomits in the street. One vomit gag is more than enough, but here, it’s dragged out for over a minute. Anyone can be more disgusted than amused at this, but again, anyone could also admire the slow pacing and the way it’s put together, such as when you think he’s stopped and he hasn’t.

The biggest laughs from me each came from Austin Brown as a narcoleptic drug dealer. Let’s just say he falls asleep at the most perfect times in this film.

Now, am I just saying all of this because I’m impressed that a student film like this went the extra mile, in comparison to most UCA-produced shorts I’ve seen? Probably. I will say that it took guts on Isbell’s part to make this film and, in my opinion, to do it right.

But let’s get to the answer that I built up for myself from the start. Did it work for me? I laughed, I cried, I recoiled, I grimaced, and I winced. So yes, it did work for me and I’m giving it a positive review simply for challenging me to consider what exactly I find funny.

Like Father, Like Son (Short Film)

16 Sep

Smith’s Verdict: ***

Reviewed by Tanner Smith

It’s a little difficult to classify Donavon Thompson’s 4-minute short, “Like Father, Like Son.” Is it a comedy, a drama, an action film, a thriller, or all of the above? I’m not sure, but I think any film that uses finger-guns as effective weapons is doing something original.

Made as a UCA film-class project before Thompson’s undergraduate thesis film, ‘Twas the Night of the Krampus, “Like Father, Like Son” starts out as a crime thriller, with a cop (played by Thompson) angrily interrogating a suspect of his wife’s kidnapping. He and his partner (Matt Mitchell, the elf from “Krampus”) track down the other kidnappers and prepare to take them down by…extending their thumbs & forefingers and using them as guns; a cute joke.

This is a project I could tell Thompson had a fun time making, and it shows here that he’s a guy who truly loves movies. He pays homage to trademark Tarantino shots and “Lethal Weapon” (which he stated in an interview is his favorite film), among others, and it’s interesting, especially after seeing “Krampus,” to see the ambition that Thompson had as a student filmmaker about a year before putting his skills and movie-buff knowledge to somewhat greater use. I liked “Like Father, Like Son”; it’s fun, it’s quick, and the ending, though almost a little too sweet for the material, is nevertheless effective.

LRFF2015 Review: The Hanging of David O. Dodd

30 May

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Smith’s Verdict: ***

Reviewed by Tanner Smith

“The Hanging of David O. Dodd” is part historical documentary, part performance art. Originally, it was a two-act play written by Phillip McMath, for the Weekend Theater in Little Rock, about a Confederate sympathizer hoping to save her wounded son and a Union supporter hoping to save a 17-year-old who is sentenced to hang as a spy. Directors Huixia Lu and Will Scott (The Night the Blackbirds Fell) have crafted an ambitious film version that essentially has the same cast as the play’s 2012 Weekend Theater premiere acting out segments from the play (edited chronologically, I believe). These segments are intersected with interviews from the actors themselves as well as writer McMath and others such as college professors sharing the history behind the story.

Some of the scenes are acted out on stage (in a blackbox theater) while others are presented in authentic-looking interior locations (such as the Old State House Museum in Little Rock) and some outdoor locations as well. This way, the film is like a hybrid of film and theater. The acting is consistently theatrical throughout, keeping in tradition with the play. Admittedly at times, I felt like I should be watching a play rather than a film and some parts don’t work well for film, but other times, such as when they’re making the most of their interiors, do. Yes, they’re written and acted for a play, but for the material, it works fine, such as when David O. Dodd (Aron Long), the 17-year-old sentenced to hang, is being debriefed by General Steele (Will Koberg), and a couple scenes involving Confederate sympathizer Medora Pilgrim (Libby Smith), Union supporter Philomena Tottenberg (Deb Lewis), and a maid named Marcella (Tracy Tolbert). But Lu and Scott know they’re making a film and don’t treat it as merely a recorded performance, hence why they chose other locations to set certain scenes, brought in the actors and other people to talk about the history behind the play’s story, and also filmed footage of a memorial 150 years after Dodd’s hanging.

When I got deeper into the film, I didn’t mind that later segments (such as David’s last day in jail and the hanging) took place in the theater. That may have to do with either the broad style of acting working better for the stage or perhaps even Johnnie Brannon, who plays a soldier, talking about his attitude towards acting in a blackbox theater that may have made it easier to accept. But that’s also when I thought, “Maybe I should be watching a play instead…”

It’s difficult to review a film that is both cinematic and stage-originated. I like film and I like theatre, but they’re both different in terms of style and execution. Putting together a hybrid of the two is no easy task and Lu and Scott mostly succeed in doing it, in that I enjoyed it and learned from it as well. Plus, the actors are appealing to watch—in addition to Long, Lewis, Smith, Tolbert, and Brannon, we also have Alan Rackley (John Wayne’s Bed) as a doctor and Jason Willey (A Matter of Honor) and William Moon as two Yankees guarding the border. And also, the play they’re acting out seems like a damn good play, framing it around the drama of a 17-year-old who became a martyr unwillingly, as well as showing plights of other people struggling through the times of the American Civil War. (“Nothing more dramatic than a hanging,” McMath says during an interview early on.) So in that respect, I admired the craftsmanship and recommend “The Hanging of David O. Dodd” for what it is.

LRFF2015 Review: “Made In Arkansas” Shorts Block 6

23 May

Reviewed by Tanner Smith

Go to the Ball with Me, Jenny

Smith’s Verdict: ***1/2

Cole Borgstadt’s (Pyro) 3-minute comedy, “Go to the Ball with Me, Jenny,” is shot like an amateur YouTube video in which an odd, quirky high-school teenager addresses a girl he likes (named Jenny, of course), asking him to go with him to their school’s Winter Ball, while telling a few things about himself such as his family, his pets, his hobbies, his…never-born twin brother he ate while in uterus (wait, wha…?). We’ve all been there—working up the courage to ask someone to a school dance can be a tricky effort and some of us felt we had to go the extra mile, like the kid in this film. What results is a funny, sweet…You know what? I can’t do it justice with a review. The film is online. Check it out here:

Sassy & the Private Eye

No Verdict rating

“Sassy & the Private Eye” is another short film of mine that was selected to screen at this festival. It’s a comedy, like The Making of ‘Sensitivity Training’, but much different, in that it’s a film-noir parody, it’s not to be taken seriously in the slightest, and it features a certain Sasquatch character from Vampire-Killing Prostitute…named Sassy.

Kristopher Pistole (audience member)—“I really liked ‘Sassy.’ The writing was very strong, really fun premise and your lead was charismatic. If I had any nitpicks, I could tell there were some technical hiccups, like dubbing. But that kind of thing gets better with time and experience.”

I thought Sarah Bailin, who reviewed The Making of Sensitivity Training, would be harsh toward this one, but she actually send me a positive message saying it’s one of my best! “It’s a nice genre mash-up and generally well done,” Bailin said. But she also criticized the slight audio issues the film may have had. “Please tell me it was a style-thing,” she said. I’m sorry, Bailin. It was a mistake.

Here’s a trailer for the film:

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Simple

Smith’s Verdict: ***

Scott McEntire’s 10-minute short action film, “Simple,” is a hard-edged misunderstanding-gone-wrong, with a wry sense of humor that’s more than welcome for the violent material. It begins as mild-mannered Sam (Clayton Bowman) delivers an important package to a crime boss (Tony Gschwend) as a favor to his lazy slacker friend, Jacky (Kelly Griffin, very funny). When Sam finds out too late what was inside the package, he finds himself running and fighting for his life against the boss’ henchmen. What ensues is a series of fistfights, knifefights, narrow escapes, etc. as Sam must survive to make things right. As a straight-up action flick, it’s exciting and well-made. As a dark comedy, it works too, particularly when it cuts to Gschwend as the crime boss and Griffin as screwup Jacky. Also, Clayton Bowman is a likable lead. Though, my main criticism of the film is that it may have benefitted from tighter editing, which is an odd complaint for a 10-minute short. Aside from that, I liked “Simple”; it’s a nice 10-minute thrill ride.

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The Whisperers

Smith’s Verdict: ***1/2

The full review can be found here. (NOTE: This film went on to win the LRFF award for Best Arkansas Film and is now available on demand: https://www.indiereign.com/v/da5d3 I recommend you check it out.)

Stay a While

Smith’s Verdict: ***1/2

Michael Kelley’s 4-minute short “Stay a While” is as much a music video rather than a short film. I actually had an interesting conversation with a friend about what it works best as: a narrative short or a music video. He said it works much better as a music video, so I told him, “Then it’s a music video.” Either way, it’s still a well-done piece—a good example of editing that show contrast between what was once here and what is now gone, as a young man is happy with his girlfriend but has suddenly lost her and is frantically searching for her. It’s well-done and has a nice payoff.

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Perfect Machine

Smith’s Verdict: ****

And now we’ve come to the final review in the LRFF2015 Made In Arkansas Shorts Block collection: Jarrod Paul Beck’s 25-minute science-fiction drama, “Perfect Machine.” After 3 years in the making, as well as an ambitious funding & marketing campaign (see Homefront and MatchMaker), the final creation works wonderfully.

The film takes place in (supposedly) the near future, as a new government system makes everything “perfect.” All citizens of new, altered civilizations are forced against their will to daily comply with this arrangement, by taking special medication, and those who don’t are forcibly “reprogrammed” to get with the program. It’s a world in which all choice is replaced with obedience, and it’s all controlled by the ominous Administration. Stevens 8936 (Kristof Waltermire) is a citizen who has stopped taking his medication for a couple days is starting to “feel,” which doesn’t bode well, seeing as how it’s against the system. Soon after his latest Administration checkup, Stevens 8936 (everyone is given a number to their name, making it easy for matching; again, see MatchMaker) evades two guards and escapes from the city, along with an unwilling woman, Warner 5964 (Caitlin Covey), into a forbidden, untouched world of nature where they take refuge in a cabin. As Stevens 8936 to the new feeling of freedom within himself, he helps Warner 5964 get adjusted to hers. Upon seeing/feeling the beauty of this environment, they learn there’s more to life than what they were forced to believe. And in each other, they find something deeper.

The background of this society is sketchy, but read/see other futuristic fables such as this and their explanations for their universes will probably make as much sense. I’m actually glad Beck doesn’t give us an answer to the question of how this world came to be. I don’t think his characters know either. Within the first five minutes of the film, writer-director Jarrod Paul Beck establishes this new world before taking his characters, as well as us, on a journey of emotion and self-discovery, which takes up more than half of the film. This is a film that uses a sci-fi gimmick to set up the two central characters, carefully develop a trusting relationship into love, contemplate complex issues such as free will and nonconformity, and results in a heartbreaking resolution but with a final shot that brings a beacon of hope. And it’s so beautifully done. The first five minutes of the film, which show the world in a certain amount of detail, are well-executed, and the visual effects are nice. But surprisingly, it’s everything with the more familiar world, taking up mostly the rest of the film, that I take back from “Perfect Machine.” This whole sequence is moving, insightful, and beautiful. It’s also well-written; there are a few extended dialogue-free sequences, but when the characters do engage in conversation, their words are carefully chosen. It’s also great to look at, with fantastic cinematography by Eric White. Watch this on a big screen, like I did, and you’ll most likely feel like you can reach out and touch this film, especially in the nature shots; you can feel the location. Few films I’ve reviewed in these blocks provided such a pervasive sense of time and place; I wasn’t tempted to go elsewhere, not even the inventive sci-fi world established earlier.

Both Kristof Waltermire and Caitlin Covey do great jobs portraying sympathetic characters trapped in a world they didn’t make and content with one that’s been there for them all along. I cared for these two and hoped for the best. Will they remain here for the better or will the cruel, forceful hand of the Administration bring them back for the worse?

The ending makes the film yet another short film I’d like to write a “spoiler review” for, just so I can talk about the final shot and what it could mean. Without giving it away, it’s ambiguous and people will see it one of two ways: positive or negative. Maybe it’s the emotion that was brought up in the mid-section, but I’m leaning toward the positive.

There’s no other way to put it—I loved “Perfect Machine.” It’s well-made, intelligent and charming. Beck and his crew put a lot of effort into this film. It pays off beautifully.

NOTE: Beck received the LRFF2015 Best Arkansas Director award for this film. I’d say his hard work really paid off.