Windsor Drive

Release: Friday, August 28, 2015 (limited)

[Vimeo]

Written by: T.R. Gough

Directed by: Natalie Bible’


This review happens to be my fourth contribution to Mr. Rumsey’s Film Related Musings. I’d like to thank James for giving me the chance to check this one out!


While there are some momentary glimpses of inventive horror film-making, there’s little doubt the short format would have served Windsor Drive‘s purposes better and that’s the only thing that’s clear after sitting once through.

Obscured by an overwhelming number of confusing and convoluted scene changes and music video-style edits, Windsor Drive strives for conjuring a moody, noir-esque vibe but instead results in an exasperating experience lacking in logic and inspiration. Knoxville, Tennessee native Natalie Bible’ has something on her mind about the degree of psychological asylum people are willing to sacrifice for the sake of a shot at the big time (specifically for an acting gig in this case) but unfortunately whatever that message is supposed to mean to anyone not in showbiz is extremely difficult to access.

In fact, trying to deduce what Windsor Drive is saying — other than that crazy people are drawn towards crazy professions like acting — is like digging through a stack of needles to find a single straw of hay. It’s painful and damn tedious. I’m having flashes of Shawnee Smith in Saw II, rummaging through a knee-deep stash of filthy syringes dumped into a pit in that decrepit home. I may not have bled as much (or at all), but the effort to keep going was, well . . . cut to the shot of her Amanda falling to the ground after finding the key and having completely expended her physical and psychological strength.

Film features a bevy of soap opera stars who are as easy on the eyes as they are grating on the ears. These relative unknowns unfortunately aren’t convincing in the slightest; luckily T.R. Gough’s haphazard script doesn’t have much time for dialogue, so most of the awkwardness presents in the stiff way these people carry themselves. With the exception of star Tommy O’Reilly fully committed to the fragile actor role — his River Miller’s archetypical tall, dark and handsome physique offers a fairly threatening character — supporting roles, mostly female, are sketches of actual people. Samaire Armstrong’s Brooke, one of River’s exes, is relegated to line rehearsals like, ‘No, please don’t leave. You should stay and have sex with me again,’ only the dialogue isn’t quite as profound.

River moves to the L.A. area to find a proper acting gig, wanting to leave his past behind in which a girlfriend tragically took her own life. He takes a room in a house run by two hipsters, hipsterly named Wulfric (Kyan DuBois) and Ivy (Anna Biani) who have, I don’t know, something weird going on. Most of the narrative is spent in this place, a brooding ground where the three roommates occasionally interact and ruminate on how hard it is to find a good gig as an actor. Then River finds out there’s a small part in a remake of the Windsor Drive movie. Bible’ teases out a few of the lines he has to rehearse in a sequence of admittedly brilliant shots that blur the line between the head space he gets in in character and the one he leaves behind in the real world. There needed to be more of that.

Should Bible’ have gone the short film route, one of the piece’s most nagging issues would have most assuredly been eliminated: feigning creativity in order to reach a certain run time. Shots cut and re-cut so that they play over and again upside down, in reverse and in different color palettes (all semi-related, of course) and framing speeds become so commonplace it’s clear that passing time is the primary objective. Best case scenario, Windsor Drive is amateurish with a bit of potential; at worst it’s one of the more pretentious bits I’ve seen. Condensing the timeline might not have guaranteed its salvation, but tightening the focus would have steered the project away from pretense quickly.

Recommendation: Windsor Drive features a few pretty cool scenes but there are far more minuses than pluses to this one. I can’t really recommend the film on its acting or directing pedigree but it does look good despite the horrible decision to cut it like an extended music video; and the lack of dialogue in favor of visual cues makes for occasionally stimulating viewing. Though rough, this film won’t stop me from keeping an eye out for Bible’ going forward.

Rated: NR

Running Time: 78 mins.

Quoted: “Some might find it a little odd, strange perhaps, but there is a method to the madness. There are only two relevant human emotions, love and fear. All others are meaningless.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.traileraddict.com; http://www.imdb.com

Jackass Presents: Bad Grandpa

bad-grandpa-movie-poster

Release: Friday, October 25, 2013

[Theater]

In this episode, Johnny Knoxville is back as Irving Zisman, the vulgar old man with a big fake. . . well, you know where this is going.

Only this time around, instead of interacting with one of the worst-looking grannies ever (Spike Jonze never ceased to amaze me in those skits in the show) Zisman has been saddled up with his grandkid, whose mother just got sent to prison on drug charges. Now Irving finds himself with no other option but to drop young, impressionable Billy (a surprisingly entertaining Jackson Nicoll) off at his pop’s place, all the way across the country in Raleigh, North Carolina.

Along the way Irving will get his genitals caught in a vending machine, hit on black male strippers, kill a penguin and crash a funeral, a wedding and a beauty pageant. 90 percent of what I just listed can be seen in the trailers, but should you assume that there will be more, perhaps better skits throughout the movie, indeed you won’t be letdown. (Oh yes, and for those who are local, how’d you like that shot of the Henley Street underpass heading into downtown Knoxvegas??)

I got giddy over a two-second clip of my home town because it was far more than what was expected. And speaking of, this movie was actually quite good. Not only are the stunts suitably hilarious with this tandem of old-gramps with a cute, “innocent” little kid working together, but their hidden camera road trip is outfitted with a somewhat heartfelt story as well.

Where plot and prank combine in this outrageous film, this is where Bad Grandpa manages to rise above something more than the montages of ball-busting, stomach-wrenching skits that somehow called for three full-length motion pictures. (Don’t get me wrong, I’m all for what these guys are doing. . .sort of. I just have always been amazed they managed to put together three such films, on top of the show they had been doing for some time.) Really, it’s pretty impressive to see Knoxville’s 42-year-old body (in an 86-year-old man costume of course) jettisoning through a store window on a coin-operated kiddie ride.

At first Irving can’t stand the thought of having Billy clinging to his side now. After his wife has passed away, Irving’s finding himself a free man for the first time in over forty years. Not even the strongest of Viagra formula is going to be of assistance to him, now that he’s got a grandkid by his side. There’ll be no chatting up the honeys with Billy around. . . or will there be? As the story and journey unfold, Irving and the kid begin to bond over a series of ridiculous situations and you can’t help but find yourself enjoying their camaraderie. The fact that you’ll be feeling something else other than the pee in your pants might surprise you, too.

The other element that Bad Grandpa benefits generously from is the heavy usage of reaction shots. Unlike the other Jackass films, where all of the comedy was confined within the group, this expedition relies heavily on how innocent bystanders take to Zisman’s “parenting” skills. True, there’s always been a few skits here and there where Knoxville will harass some random people for a minute or two, but here’s a movie that completely runs away with that concept. And it works brilliantly. I’d even argue that this film is far funnier because of the way certain people respond to what goes on. Some are so good you want to believe they were directed to act a certain way. But the end credits sequence will reveal that in fact, no one is in on the joke other than Knoxville, Nicoll and the camera crew.

Taken altogether, with clever camera placements, a good performance from the very young Nicoll, and a premise written by fellow jackasses Preston Lacy and Jeff Tremaine that actually enhances the selected stunts, Bad Grandpa is one of the better conceits the crew has concocted. Consider it the ultimate “big” prank, similar to how their other films always concluded in some elaborate scheme — only this time with a lot more loose skin.

sorry-as-hell

3-5Recommendation: This section should be pretty self-explanatory this time! You’ll either be there laughing your fool head off or you’ll be at home, skipping over channels that are showing the previews for this thing. Very little I can say or do to convince the latter kind, which is completely understandable. I’m just relieved this movie actually worked.

Rated: R

Running Time: 92 mins.

Quoted: “You are sorry, you’re sorry as hell, Mister!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com