Due to a frank discussion of movie content, the following material has been rated 17 AND UP... this is not a joke, but a service to parents...
So, I just got back from my first program at the Film Fest, Shorts Program: Strange Bedfellows. It seems that the big winner this year at the festival is masturbation, which takes a starring role in three out of the seven films. American Beauty and Happiness, not to mention the American Pie series, must have opened the door wide for filmmakers everywhere. But can the m-word be used as a real, true part of an art piece or is it just a gimmick? I'm not going to even try to answer that question fully, but I think a little of the answer comes in the application, so I'll break down the films with little mini-reviews...I'm so gonna have to watch my wording throughout this entry... =)
1) Me and Daphne -- a film by Rebecca Gayheart. Yes, the actress Rebecca Gayheart. Yes, the actress that accidentally ran over a small child. How this film got made in the midst of everything, I have no idea. The general plot can be summerized best by the program's blurb: "Boy meets girl, boy masturbates incessantly, boy obsesses over small penis, boy stalks girl. An outrageous "he said, she said" sex farce." The movie was mildly funny and actually a little bit more modest than the program would have you believe. The acting saved the entire piece, especially the guy playing the nerdy lead (as well as his younger, flashback counterpart) and a surprise Jeremy Piven, whom you do not know you're watching until the end (since all you see before that is the side of his face). Overall, I gave it a 3 out of 5.
2) Related -- not a m-movie, but close. Did these people even know what a short movie was for? Even beyond the fact that it felt like an incoherent scene from a Lifetime movie, this "younger brother gets stoned, ruins older sister's party and then has a passionate make-out session with sister while parents cook eggs downstairs" movie just didn't cut it for me. Yeah, there's the incest, but it's the writing and the acting that made this one a stinker. I think they knew that, so they pulled an exploitive prank by having the young lead bare his backside by the pool in the beginning. I hope he got paid well as this isn't one for the audition clips. Totally horrible, but at least they can blame bad reviews on the incest. 1 out of 5
3) Lunch -- positively hilarious--this one earned it's "M" for the day. This was much closer to what a short movie should be like. Picture a corporate lunch cafeteria, lots of cookie-cutter workers eating cookie cutter lunches. There's a seat empty in between a repressed bitty and a huge nerdy guy. Enter well groomed actor man. He sets down his lunch from home--a rather large brown paper bag. He proceeds to pull out a plate, some silverware, a box of edible panties, some "Love Whipped Cream", and a bottle of "Sexy Body Butter". Wrong things ensue, all in the name of getting fired. The audience doesn't know whether to get nauseous over the consumption of these apparently edible products or cry from laughter. The director's name is Matthew Ehlers...he knows what the heck he's doing--a short film, not a compressed drama or comedy. 4 out of 5
4) Member -- I have no idea what I think about this one. Thankfully a respite from sex (mostly). Mainly, they're trying to do "Fight Club" in 13.5 minutes, but this time with Josh Hartnett as a taxi driver...so, maybe they're really trying to do "Taxi Driver" with...whatever. The movie was about 6 minutes too long, even with the billion or so cuts and really cool visual effects. Josh Hartnett was strangely compelling, despite the makeup artists attempt to show us the cleanest, most pretty hoodlum we've ever seen. The major problem of this work was that it couldn't make up its mind if it was anti-corporations, anti-patriotism or if it was anti-"people who are like this person on the screen who is anti-corporation, anti-patriotism". A big whatever. Style: 4 out of 5. Content: 1 out of 5.
5) Woman X -- very cool, could have been a much longer movie. Basically, an uptight London bank manager doesn't give any money to a homeless woman, so one night she beats the living daylights out of him for the 75 pounds in his pocket. Later, a mysterious, rich woman comes to his bank--with thousands to deposit, plus "75 pounds". He almost goes crazy...his life changes...the final line is a stinger. I liked this one, if only for its confidence. 4 out of 5
6) Bus 44 -- The best of the lot! Made in China, this 11 minute short tells the story of a young man who gets on a bus, not knowing that at the next stop robbers are waiting. The robbers get the upperhand and take off with the lady driver. The young man makes chase, but gets beaten up. I won't go much further, in case anyone gets to see it, but this film was done so simply and so straightforward that the ending doesn't feel cheap. In fact, this was the most powerful film of the program--it spoke more in its silence than any of the other films did in talk. Seek this short out, even if you have to watch a bunch of poop along with it. 5 out of 5
7) Gas up and Save -- My second favorite. A dark one about a mom and son who travel across America's deserts in a U-Haul. The young man is the twin of his dead brother and carries the guilt of having "sucked all the life out of him at birth". Or at least that's what his mom told him. We come to find that his Bible-toting mom (actually, she only reads the Gideon Bibles at every hotel they stop at each night) believes he is the Christ. The young man does fine for awhile (if fine means sitting in corners and not talking to anyone), even stoically watching old Liberace reruns with his mother every night, but on one fateful night of his sheltered life, he get's, well, a little "excited" and "fulfills a need". Let's just say that Mother doesn't handle this very well. The director, Anne Paas, doesn't pull any cheap shots and presents the story in a pseudo-documentary form. But it's not mockumentary, really...there isn't any irony and that's the most powerful part of this story--these people ("Middle America" if you wish, but I think that might be a little broad) don't communicate in coy banter or hidden meaning. This isn't "Friends". And that's where the film succeeds--amidst all the absurdity on screen, you realize that this is very symbolic (and, even more scary, representational) of what could very well be happening "somewhere out there" every single day. Chilling. 4 out of 5.
