WORM is a very dark little drama that starts out innocently enough. Geoffrey Oswald Dodd is an average high school teacher, going through the motions with his students, secretly disgusted with the apathetic state of the young minds filling his classroom. What becomes increasingly apparent however is that Dodd’s true colors are far more sinister.

Dodd, played by Robert Nolan, rarely speaks outwardly in this 20-minute short. Instead, the audience is forced into his twisted mind through his thoughts, made audible by way of voice over. Normally, this is a tricky technique to employ, especially for the entire length of a film, but writer/director Richard Powell pulls it off with disturbing effect.

Initially, Dodd is presented simply as a disgruntled teacher who has lost his ability to inspire his students… then we sink a little deeper into his misanthropic thoughts and discover just how unsettling the situation has become. Externally, Dodd maintains a straight face, a friendly and pleasant demeanor, all of which is complete hogwash.

WORM is a film that uses the visual world to accessorize a point, whereas the heart of the story and the suspense lie almost solely on the voice over acting of Robert Nolan. This is a huge gamble for a filmmaker, but Nolan is able to construct the emotional roller coaster necessary in his voice and intonation, his dramatic exposition, that allows the audience to feel the discomfort intended.

Zach Green produced and edited WORM, which was shot on 16mm, so it has a textural feel to it than the digital medium we’ve become used to for indie shorts. Aside from one moment, where a creatively diabolical prop is utilized unexpectedly to create a heightened sense of pending doom, Nolan is the one weaving this Grimm-style modern cautionary tale, in collaboration with the filmmakers.

The most frightening thing about WORM, turns out to be the realization that anyone around us could, in theory, be a real life Geoffrey Dodd. This short film is great by itself, but it also begs for a feature-length version of the film, exploring the disturbingly unique and interesting character in more detail. I’m not sure if the filmmakers have any interest, but if they did… I’d certainly see it.

THE SUNSET LIMITED, the new original HBO film, premiered recently. The film is a perfect example of effective stage-to-screen adaptation, based upon the stage play of the same name written by Cormac McCarthy, the extraordinary writer responsible for THE ROAD and NO COUNTRY FOR OLD MEN.

HBO’s adaptation stars Samuel L. Jackson and Tommy Lee Jones as the two nameless characters, Black and White. The initial thought which may come to mind with this casting is a clash of egos, but regardless of the truthfulness of this possibility, the result is far from catastrophic. Both actors have seemingly limitless charisma and onscreen presence, a shared trait which benefits this production greatly.

Written back in 2006, THE SUNSET LIMITED takes place in a single location, a rundown apartment in the slums, where Black has taken White after saving him from an attempted suicide. The title of the play/movie refers to a particular subway train in Brooklyn, a route known as The Sunset Limited, the train in front of which White intended to leap, sending him into silent, peaceful darkness.

Merely by chance, or perhaps by divine intervention, Black is there on the deck to save White from his untimely demise. This becomes the basis of this dialogue-driven film, a philosophical inquiry into the nature of faith, God and the purpose of life. Written with a fervent dialect, precise and calculated yet uncompromisingly organic, I was fully drawn into this intimate conversation.

THE SUNSET LIMITED was also directed by Tommy Lee Jones. I am reminded of Alfred Hitchcock’s ROPE, or LIFEBOAT, two films shot in singular locations, but both films carry an intensity of emotion and suspense that causes one to forget that the setting does not change. In ROPE, Hitchcock designed the film to appear as a single, continuous shot. In THE SUNSET LIMITED, Jones uses multiple cameras, allowing him to maintain optimal connection between the viewer and the actor, allowing us to maintain eye contact with the characters. They say the eyes are the windows to a man’s soul. This couldn’t be more fitting to the theme of this film.

In the beginning, White is a sad, pathetic man; an educated man whom Black refers to as The Professor. I noticed that the overwhelming emotion was to feel sorry for White, given that despite his education and success [as made evident in a bit of dialogue] he finds no joy or cause for happiness in the world. White perceives this existence as dismal, remedied only by the hope for the dark, silent loneliness of death. Black, on the other hand, feels compelled and obliged to hold White in his apartment, engaging in deep conversation regarding White’s actions and intentions. Black is determined to show White the light, bringing his back from the darkness, giving him hope for life and a renewed sense of faith.

What emerges in THE SUNSET LIMITED is a strong and intelligent debate about the very nature of faith and God. What lies beneath the surface is a question of truth, perception and the lengths to which a man’s faith can be stretched. For the first two-thirds of the film, Black is clearly the one leading the conversation, clearly searching, looking for someway to draw White back to the void. An uneducated man, a man of former deviance through his own admission, Black explains how God spoke to him, showing him the light and setting him on his current path to help his fellow brothers. Black feels he simply must find a way to ensure White is ready to reenter the world, before leaving his home.

In the end, as is often the nature of Cormac McCarthy’s writings, THE SUNSET LIMITED takes a decidedly darker turn, revealing the truly frightening side of White that turns Black’s world inside-out. Assisted by an endlessly moving camera and a score that is both subtle and aggressive, Jones makes the absolute most of his single locations, tapping into the actors’ experience and descriptive eyes. While there is an abundance of camera movement, none of which is in excess, Jones also allows the camera to linger when necessary, especially on the actors’ eyes. Engage, observe, react; this is the exchange that occurs repeatedly throughout the film, the two men testing each others’ faiths; one in God, the other in nothingness.

THE SUNSET LIMITED certainly has its underlying tone, a tendency leaning towards the blasphemous, but in truth questions both sides of the debate. Those who feel strong, uncompromising conviction in their faith need view this film cautiously, but need view this film nonetheless. Those who hold their faith in utter certainty have the most to lose, thus testing their faith is an exercise in questioning one’s own perception of belief. For those on the fence, or that of the atheist, this is an intellectually-stimulating journey into a realm of human mystery as old as man himself.

[Reposted from StarClipper’s Newsletter]

Born in St. Louis on May 27, 1911, Vincent Price retained a fondness for his place of origin, and that love will be reciprocated with Vincentennial, a celebration of his 100th birthday in his hometown.  

Scheduled for May 20 - 27, 2011 at multiple venues (Washington University, Missouri History Museum, Hi-Pointe Theatre, Star Clipper, Sheldon Concert Hall and Art Galleries), Vincentennial will include screenings of at least a dozen of Price’s major works, and participation by filmmakers/actors, critics, and academics, who will conduct interviews, introduce and discuss films, and present lectures and special events. Invitees will include Victoria Price, his daughter and biographer (Vincent Price: A Daughter’s Biography); exhibits of Price-related artifacts, artwork, and memorabilia at the Sheldon Concert Hall and Art Galleries; and a gallery show at Star Clipper from April 29 to June 26, 2011 honoring Vincent Price’s legacy in comics.

Until tonight, I’ve actually been enjoying Showtime’s new series SHAMELESS, starring William H. Macy. Sure, it’s definitely a show that tries to be edgy, controversial and shocking, even maybe trying too hard at times, but it’s always been funny, till now…

I was watching the newest episode called “Three Boys” when I discovered the series’ writers chose to hop on the band wagon of ignorantly misusing Tourette Syndrome as a comical crutch. I support and respect the creative team’s right to say what they want with their art, but in doing so I question their intelligence and ability to create worthwhile comedy, regardless of how shocking, without crossing the lines.

Here’s the deal… a little bit of research reveals that the one most commonly used most “tic” associated with Tourette Syndome — uncontrollable use of profanity — is also amongst the most unrepresentative and rare of “tics” and unfairly misrepresents the condition, adding to the negative social stigma attached to kids dealing with Tourette Syndrome. At that moment, I stopped watching the “Three Boys” episode and removed the series from my DVR, never to watch it again. I have plenty of other shows to watch, so in the grand scheme of things, Shameless will not be missed.

* P.S. - Coincidentally, this is a good example of how the “gentleman” in the video from my previous post could have better communicated his opinion and have received a potentially more open audience. I’ve politely and respectfully said my peace, have determined I for one will no longer partake, and am now moving on with life.

There’s always a time (occasionally more than once) in everyone’s life when you find yourself stepping back to look at the big picture, to see how the first several chapters in your book have played out. These are the times when you must critically examine your story. Can you determine how the natural progression of your story unfolds? Do you like the ending as it currently appears, or do you want to fundamentally edit your novel of life? No one’s book is ever finished, so there’s always room for improvement… and as the author, the story can go in any direction you imagine. The path may alter, unexpectedly, it may be dramatically different from the path you imagined 5, 10, 20 years ago… but, the essence of your story should always remain the same.