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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

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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.

LRFF2015 Review: “Made In Arkansas” Shorts Block 5

22 May

Reviewed by Tanner Smith

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Not Interested

Smith’s Verdict: ****

The full review can be found here.

Southern Pride

Smith’s Verdict: ***

In Nick Lane’s 7-minute short film, “Southern Pride,” an Arkansas gay couple is walking around their suburban neighborhood while their son prepares for a proposal dinner at home. It seems their son is going to propose to his girlfriend. Their conversation soon grows from worrying about how the son will prepare the potato salad to the subject of marriage and whether or not their son is making the right choice. They discuss the pros and cons of marriage when it becomes clear that they’re not merely worried about their son’s proposal but the possibility of getting married themselves. The way it builds up to its surprisingly inevitable payoff is subtle and well-handled, and it digs through the surface of what’s truly bothering these characters. “Southern Pride” is as well-written as it is well-acted.

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The Making of “Sensitivity Training”

No Verdict rating

“The Making of ‘Sensitivity Training’” was a 25-minute documentary I made highlighting humorous moments from the making of a short film (called “Sensitivity Training”) made by the team Flokati Films (which includes Johnnie Brannon, Tony Taylor, and Jason Willey, among others) for the 2014 Little Rock 48-Hour Film Project. So, obviously, I can’t review it. But I did find a couple people who had some things to say about it. Here they are:

Paige Murphy (producer, Vampire-Killing Prostitute)—“It was interesting seeing the 48-Hour Film Project from someone else’s perspective (I did it with a group one year). I liked seeing how the group decided on the story that they did. It made me really want to see the film. I think some parts in the beginning were a little unnecessary and possibly could have been replaced with a couple title cards briefly explaining 48HrFP and what genre the group got. Having said that, I’m familiar with how it works, so maybe it felt natural to someone who isn’t.” Murphy goes on to say, as a note to me, that if I do the same thing for this year’s 48-Hr, I should capture how making a film in 48 hours takes a toll on a group of people. “Getting BTS on the movie itself is really good, but I would have liked to see people sleeping on chairs or rubbing their eyes or whatever they did to cope with the lack of sleep. That’s not a criticism so much as just a random thought on my part. Overall, a good job capturing funny and interesting moments on sets.”

Kristopher Pistole (audience member)—“[…] had great editing. I enjoyed it all the way through. Very tight. I didn’t think it needed the intro at the beginning. I thought the film could have been introduced with just a few lines of text—not bad, just not wholly necessary.”

Sarah Bailin (Wellesley student)—“’The Making of Sensitivity Training,’ is, shockingly, about the making of the 48-hour film festival entry, ‘Sensitivity Training’—or as I’d like to think of it, a weekend in the life of a surprisingly unstressed group of filmmakers considering they have 48 hours to make a masterpiece. It is clear throughout the film that these filmmakers truly love the work that they do, and this featurette is all the more enjoyable because of it. Personally it was an odd experience watching a film about the making of a film I haven’t seen, but it’s to Tanner Smith’s credit as a filmmaker that I never felt as though I were missing anything, and I encourage anyone in a similar situation to me not to let their lack of familiarity with ‘Sensitivity Training’ hold them back from seeing this film. In true Behind The Scenes fashion, Smith’s camera was both unobtrusive and omniscient, providing us with a thorough glimpse into the genesis of ‘Sensitivity Training.’ This is not to say the film was without its flaws, but if any genre can get away with a little self-aggrandizing and a certain amount of inside jokes, it’s a behind the scenes video like this one. Ultimately the goal of any featurette is to document and provide insight into the atmosphere in which a film was created, and to this end, Tanner Smith’s ‘The Making of Sensitivity Training’ was more than adequate.”

Here’s a trailer for the film:

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The PaperBoy

Smith’s Verdict: ***1/2

Thien Ngo’s 7-minute action-comedy “The PaperBoy” is a wild ride—a very funny, skillfully made romp that takes us to a strange universe in which newspaper deliverers engage in all-out war, with two different sides fighting for different meanings of “truth.” “The PaperBoy” is not exactly a satire on news or media or even how the public can interpret it in terms of their own politics; it’s just a brief action-adventure that thrusts two rookie paperboys (Keith Hudson and Tres Wilson) into a life-threatening situation with enemy paperboys who use attack dogs, newspaper cannons, and even newspaper-nunchucks. And that’s just some of this film’s original material, which is just full of original material. My favorite sequence is a half-a-minute montage of training at the Newspaper Academy, where the typical shouting drill instructor gives a speech about “how tough it is out there” and our trainees endure tests such as vicious dogs that will be a nuisance to them on their paper routes. (By the way, dog-lovers should probably not watch this scene.) There are other elements that make this a unique, stylish short, including a brief cameo by Johnnie Brannon as a newspaper-cannon-wielding maniac and a final sight gag that is as hilarious as it is grisly. “The PaperBoy” is tight, fast-paced, and over in just a few minutes. It’s just plain fun.

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‘Twas the Night of the Krampus

Smith’s Verdict: ***1/2

The full review can be found here.

I Hate Alphaman

Smith’s Verdict: ***

Hunter West’s 8-minute action-comedy “I Hate Alphaman” is a cheesy, fun callback to old-school comic book adaptations. The characters and material are original, but the goofy tone and style are the same, if not totally exaggerated. You know those over-the-top scheming villains who always say they’re ultimately going to stop their adversaries but never do and constantly try again and fail? No one knows that feeling better than Alex Arthur, who doubles as a rather pathetic supervillain who wants to stop a superhero, named Alphaman, for no reason other than…he hates him. Intercut with news footage, we learn how many times Arthur has tried and failed to defeat Alphaman. Each encounter leads to one embarrassing disaster after another (he’s frozen, he’s burned, etc.; this Alphaman possesses so many abilities that I kind of hate him too). That’s pretty much what the film is about; there’s hardly even a story being told here, but rather, a series of events that include news anchor footage, encounter after encounter, and even chats with other pathetic villains, such as a rhymer and a fortuneteller. And that’s fine. It’s fun, amusing, and has a nice visual style that recall the ‘60s campy Batman TV series (though, to say these special effects are better is kind of a no-brainer). My only complaint about the film is that it sort of stops when it should keep going; it ends a little too quickly and I wanted it to continue. But for what it has rather than what it doesn’t, “I Hate Alphaman” is a lot of fun.

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Vampire-Killing Prostitute

No Verdict rating

BRIEF SUMMARY: “Raven is a vampire-slaying prostitute hell-bent on exacting revenge for the death of her father 18 years ago. One night, after killing a vampire, Raven gets a surprise visit from a group of vampire hunters who need her help.”

As I did with The Town Where Nobody Lives, I decided to collect other people’s opinions of Jordan Mears’ 15-minute grindhouse homage, “Vampire-Killing Prostitute.” Because I worked as BTS Videographer for the film, I cannot review it.

Kayla Esmond (actress, Spoonin’ the Devil)—“VKP was equal parts crazy, fun, and horrifying! Brittany Sparkles does just that in her performance as Raven, a, you guess it, Vampire Killing Prostitute. Jordan Mears’ directing was spot-on from beginning to end with an impressive balance of gore and true emotion. Basically, this movie rocked!”

Mathew Thomas Foss (director, Not Interested)—“It was a nonstop thrill ride. Good acting. Great nostalgic writing. More splatter than a slaughterhouse. A Sasquatch playing the piano. It had it all. And comedy for the whole family.”

Cody Harris (director, Rites)—“I think the thing the film had going for it was its use of color and lighting to emphasize the story. I also enjoyed the satirical type of acting that made the film have a comedic relief but not so over the top that it took us out of the story. I think Jordan Mears was pretty clear on what he wanted and it definitely showed.”

Kristopher Pistole (audience member)—“I liked it a lot! Loved the lighting and where Jordan put the camera. The idea of cutting the film off to not show the fight scene was hilarious.”

Donavon Thompson (director, ‘Twas the Night of the Krampus)—“’Vampire-Killing Prostitute’ feels like it was a missing piece of 2007’s ‘Grindhouse’ and Jordan Mears says, ‘Oh! I found it! Here it is!’ It’s a crazy concept involving: vampires, the end of the world, and a Sasquatch named Sassy. Yes, there is a Sasquatch. All these elements come together to deliver a fun film and work wonderfully. The film is full of gore and vulgar jokes, but it is exactly what the genre calls for. If you don’t like that sort of thing, you may be turned off to the film. In short, this film was made by a fan of the genre FOR fans of the genre.”

Al Topich (director, The Town Where Nobody Lives)—“’Vampire-Killing Prostitute’ knows what kind of movie it is. It’s not trying to change the world with any philosophical or symbolic undertones. VKP is Grindhouse. It’s a fun movie meant to entertain, just like other horror and exploitative movies of the genre from the 70s and 80s. It does a fantastic job at replicating the genre, from the blood splattering gore effects all the way down to the highly stylized lighting. Though, I would say that VKP is a notch or two better than the films it tries to emulate. It has an interesting and coherent plot, minus a certain Sasquatch. But its most endearing quality is the fact that it has a strong female lead, which is something that tends to get lost in modern films, especially in shorts. The character of Raven, played by the delightfully badass Brittany Sparkles, has a beautiful character arc that cumulates into a well choreographed final battle between her and her nemesis.”

For the record, my short documentary about the making of the film can be seen here: