Wanna watch the worst movie ever? Watch this!
You’ll see:
-Poop coming out of a dude’s butt
-Extremely anachronistic headbanging to metal
-Guys in really bad wigs speaking slangy Norse in digitally-altered-to-be-lower voices
-Random acts of arson
-Unexplained and unnecessary shaky camera
-Beautiful scenery of northeastern Canada
In short: all you could ever wish for in a bad movie. Ripe for a couple hours of colorful commentary from you and your friends (possibly inebriated). Vent your pent up aggression, sarcasm, and rage toward your TV or computer screen. The movie can’t talk back, and won’t make any effort to get you to like it!
A spectacle of unspeakably bad moviemaking. Enjoy.
18 October 2010
Kick Ass (2010)
I really wanted to like Kick Ass more than I was able to. I thought “Hey! Kids imitating/deconstructing the notion of superheroes while making cheeky jokes! What’s not to like?” Sadly there was a lot not to like.
There was the silly-bad score (not usually something I comment on but definitely was distracting here), the overly flippant use of adolescent (sex/sexuality based) humor, and in my opinion, a failed effort to cover the back story of too many different characters to get me interested in any single one. I’d have much preferred a movie that delved deeply into the psychology of one instead of three (or four or five) misfit superhero/villain wannabes.
I think the makers of Kick Ass were going for smart pastiche of the extremely overplayed superhero genre, but ended up with something too insincere to be homage, and something with too much undirected minor tinkering with genre convention to be truly or interestingly divergent from what’s already out there.
Overall, underwhelming. Not worth it.
There was the silly-bad score (not usually something I comment on but definitely was distracting here), the overly flippant use of adolescent (sex/sexuality based) humor, and in my opinion, a failed effort to cover the back story of too many different characters to get me interested in any single one. I’d have much preferred a movie that delved deeply into the psychology of one instead of three (or four or five) misfit superhero/villain wannabes.
I think the makers of Kick Ass were going for smart pastiche of the extremely overplayed superhero genre, but ended up with something too insincere to be homage, and something with too much undirected minor tinkering with genre convention to be truly or interestingly divergent from what’s already out there.
Overall, underwhelming. Not worth it.
04 October 2010
Fault Line (2009)
Fault Line is a gem of a short-format crime narrative that was written, directed, and produced by Garrison Comstock. The film tells the story of two brothers who find themselves involved in an investigation of a crime that could land one or both of them in jail for a very long time. As the story unfolds, details come increasingly into focus, but the question as to who is really to blame remains even after the credits.
Now I’ll concede that Fault Line is definitely a beginner work shot on a minimal budget, and that you can feel this pinch at certain levels throughout the eighteen minute film. Most regrettably, some of the acting is amateur to a distracting degree—particularly the performance of Garry Myers, who plays the older detective. Additionally, at certain moments the dialogue dealing with heavy-weight subject matter ranging from homosexuality to drug abuse thins, causing it to suffer blows to its credibility, but this may also be a result of poor delivery on the part of the actors.
However, I would argue that Comstock shows great potential in this short work on a number of important counts. In terms of narrative he interweaves complex questions of fraternal responsibility and loyalty, as well as what it means to be guilty in general. A deeper layer of rumination on American masculinity is also at play.
Visually the film is very well done. The color palette and the cinematography are areas in which the limitations of the budget are not at all apparent. Each shot is carefully choreographed and each shot is clearly thought through to the end. Restraint, taste, and intelligent decisions characterize the aesthetic and visual unity of Fault Line.
On a related note, the editing is also top notch. The use of flashback shows a level of mastery that is not often seen in student work. Comstock takes tropes used in the industry for thrillers and crime dramas, shows that he understands them very well, and then makes them his own. On top of all of this there is a shockingly good score that ties the editing and the story together, and makes the whole thing gel very well overall. Hugely impressive, Mr. Comstock. I commend you.
So I have to say that overall, Fault Line definitely makes me want to see more from Comstock. I would be excited to see what he could do with a bigger budget and better actors should he get the opportunity. And that is saying something coming from me, who does not usually like crime dramas or “serious” movies in general.
Well done.
--
Where can you see Fault Line? Ask the board of your local film festival to screen it!
Link to it on Vimeo here.
The password is watchfaultline
Now I’ll concede that Fault Line is definitely a beginner work shot on a minimal budget, and that you can feel this pinch at certain levels throughout the eighteen minute film. Most regrettably, some of the acting is amateur to a distracting degree—particularly the performance of Garry Myers, who plays the older detective. Additionally, at certain moments the dialogue dealing with heavy-weight subject matter ranging from homosexuality to drug abuse thins, causing it to suffer blows to its credibility, but this may also be a result of poor delivery on the part of the actors.
However, I would argue that Comstock shows great potential in this short work on a number of important counts. In terms of narrative he interweaves complex questions of fraternal responsibility and loyalty, as well as what it means to be guilty in general. A deeper layer of rumination on American masculinity is also at play.
Visually the film is very well done. The color palette and the cinematography are areas in which the limitations of the budget are not at all apparent. Each shot is carefully choreographed and each shot is clearly thought through to the end. Restraint, taste, and intelligent decisions characterize the aesthetic and visual unity of Fault Line.
On a related note, the editing is also top notch. The use of flashback shows a level of mastery that is not often seen in student work. Comstock takes tropes used in the industry for thrillers and crime dramas, shows that he understands them very well, and then makes them his own. On top of all of this there is a shockingly good score that ties the editing and the story together, and makes the whole thing gel very well overall. Hugely impressive, Mr. Comstock. I commend you.
So I have to say that overall, Fault Line definitely makes me want to see more from Comstock. I would be excited to see what he could do with a bigger budget and better actors should he get the opportunity. And that is saying something coming from me, who does not usually like crime dramas or “serious” movies in general.
Well done.
--
Where can you see Fault Line? Ask the board of your local film festival to screen it!
Link to it on Vimeo here.
The password is watchfaultline
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