The DMI Review Podcast: Episode 5

Back For More

by Hunter Isham

       It's been quite some time since our last podcast, but after many scheduling setbacks we're finally back with a great discussion covering the films we've reviewed since our last episode. This fifth installment of The Darke, McPhaul, and Isham Review Podcast finds us discussing 42, Bully, Moneyball, The Lake, and The Great Gatsby. As a special treat, Tyler, Harry and myself were actually able to sit down and record together, rather than via Skype, so it should make for some interesting listening. Here's hoping we can get another episode out before too long.

The DMI Review Podcast: Episode 5

P.S. We recorded this episode just before Memorial Day Weekend, but aside from some personal stuff I was a bit distracted by something that occurred that weekend.

Iron Man 3

Built to Last

by Hunter Isham

        2008's Iron Man was a breath of fresh air, giving us a superhero who is neither a brooding, injured individual nor a chipper do-gooder. Tony Stark was a narcissistic playboy weapons manufacturer who quickly found himself on the wrong end of a terrorist attack. Reborn as Iron Man, the hero who was a narcissistic playboy billionaire with a cause, Stark still had some growth ahead of him. Jon Favreau's film also kicked off the multi-billion dollar franchise now known as the Marvel Cinematic Universe, which culminated for the first time last year in The Avengers. Just about everyone loved that film, but the same can't be said for Favreau's 2010 sequel Iron Man 2, which spent too much time preparing for Avengers, and not enough time telling Stark's story (not bad, just not Tony-centric). Now that the super-team-up is behind them (for now), the folks at Marvel have given us a stellar third entry in the Iron Man series, creating a personal story that handles the dark stuff without forgetting its light-hearted, snarky roots.
        Set during Christmastime after the events of The Avengers, we find Tony Stark a bit of a mess. He can't sleep, he's having panic attacks, and he can't escape the feeling that he's just a man in a suit next to a super soldier, a god, and a Hulk. To add to the trouble, a bin Laden-esque super terrorist known as the Mandarin is making unexpected attacks all over the country. When an old friend is caught in the crossfire, Tony invites the wrath of the Mandarin, and boy does he get it. As the film's trailer depicts, Stark's Malibu mansion is destroyed, as are his suits, and this is what really sets the plot in motion, as he's left alone without his armory or super-pals, working to uncover the mystery behind the Mandarin while attempting to rebuild with the same ingenuity he used when he was trapped in that cave in the first film. From this point forward, Iron Man 3 plays out with the expected levels of fun and intrigue, involving everyone from the President to a cute kid who helps Stark when he's down and out while avoiding the cliché of being a cute kid who helps our wounded hero.
        This wide range of characters is brought to life by a top-notch cast. By now, Robert Downey, Jr. simply is Iron Man, and here he thankfully doesn't coast on his success, giving the audience a Tony Stark who, for the first time since donning his suit, can't handle the obstacles put in front of him. It helps that he's matched by excellent villains, including Ben Kingsley's Mandarin, a growling iconoclast bent on teaching America a lesson. Chameleon actor Guy Pearce is equally excellent as an oily figure Stark rebuffed more than a decade earlier. Rebecca Hall is fine as another figure from Tony's past, a scientist developing a treatment that can regenerate limbs, although she has less to do than her experiment. Don Cheadle, returning as Tony's best friend Col. James Rhodes (who himself has a weaponized suit), similarly has a sporadic amount of material, but he makes the best of his scenes. The one series regular who gets a boost in importance here is Gwyneth Paltrow, whose Pepper Potts even gets to join in some of the spectacular action sequences as more than just a damsel in distress.
        Speaking of those action sequences, it should be noted that Iron Man 3 features Stark out of the suit perhaps more than any of the previous films, but when he is flying high and battling the bad guys, it's pretty great. Two standout scenes come late in the film, the first being a daring rescue when members of the Air Force One flight crew go shooting out of the back of the plane, and the second being the film's climactic battle involving more than a few Iron Man suits of armor. There's also some fun that harkens back to Tony inventing without his wealth and infrastructure there to protect or provide for him. Overall, the film creates a nice balance between the character moments and the action that allow the human element to breathe in the face of the big explosions and swooping cameras.
        Iron Man 3 simultaneously takes itself seriously while keeping its tongue planted firmly in cheek, giving Tony Stark the standalone follow-up he deserves. Although we've seen moments of fledgling growth from Tony in the past, he truly reaches new ground with this installment, finding out whether or not his Iron Man suit was the key to leaving his old ways behind him. Shane Black does a wonderful job of providing material that is so perfect for Robert Downey, Jr. to play, and the fantastic supporting cast does a great job making this film more than just a one man show. The end of Iron Man 3 leaves the future uncertain for Stark, just as it is for Downey, Jr.. This film fulfills his existing contract with Marvel (a famously frugal bunch), and he's now in negotiations to return for more Avengers outings, which he seems ready to sign on for. More solo endeavors are the big question, and if this third film in the Iron Man trilogy is Downey, Jr.'s last front-and-center outing, we can all rest safe knowing that this Iron Man is one that will satisfy for years to come. 8.75/10

Beasts of the Southern Wild

Little Budget, Big Movie

by Hunter Isham

        Beasts of the Southern Wild, one of the smaller films nominated for Best Picture a few months ago against Lincoln and Argo, is a film that is all about little things becoming big. Maybe not thematically, as it tells the story of a young girl and her father surviving in an disenfranchised post-hurricane part of the South (a section of Louisiana, I assume), but everything surrounding this film seems much larger even when standing next to the standard Hollywood blockbuster. First and foremost, the film was made for very little, just under $2 million (less than a fiftieth of the recent Great Gatsby's budget), stars actors who were not Screen Actors Guild members during filming, and went from being the small Sundance Film Festival hit that it was to the Oscar contender it became by the time the cast and crew were welcomed to the Dolby Theater on Hollywood Boulevard. What's most striking to me as a viewer is how a film made on such a small scale could feel so big and fantastical, as it deals with locations and characters that are just as beautiful and compelling as those that can come with a larger budget.

        Of all the things that work about this film, the one essential element has to be Quvenzhané Wallis' Hushpuppy, the little girl who has an apparently boundless internal strength as she and her father (a similarly strong-willed Dwight Henry) weather storms and illness as their story unfolds. Wallis carries the film, a difficult task for any child actor, but I believe she was only six years old when she played Hushpuppy, and her age combined with her lack of experience astounds me when I think about how well she commanded the screen. Henry proves to be quite the force of nature despite his own inexperience, something that makes Wallis performance even better given this man's ability, because his angry but loving character is dealt such a terrible hand (not only a single parent, but one who we quickly learn is sick) in this film that he on occasion blows up on his daughter, only to gather his senses and teach her to be the strong-willed girl the audience sees in her.

        Wallis and Henry together make this a tangible and relatable world, and what a wold it is that they inhabit. The Bathtub is the name of this region, an area we can only infer was abandoned after Hurricane Katrina, but its residents preferred to remain hidden there rather than join the rest of society on the other side of the levee. Hushpuppy and her father motor around in their makeshift boat (pictured above), catching fish and shellfish, and hanging out with the local children and adults who similarly enjoy this laid back life off the grid. The fact that we buy this moderate level of fantasy allows us to accept the existence of the ancient Auroch creatures (something Hushpuppy tells us about) that used to roam the earth. I never once questioned the world the film created, meaning that in doing so it was quite a success. However, the one thing that did distract me during the film was not that The Bathtub was real, but how it came about. How/Why/When was it abandoned? By who? What exactly makes life on the other side so bad?* These are questions of logic that pop up in your head when you've been watching too much Star Trek, so it's truly nothing to worry about when approaching this film, but I will caution you that if you do not buy the premise, you'll likely not enjoy the film. The performances carry it pretty far, but this swirled world of fantasy and reality is a necessary element to take in to fully embrace the movie.

        Beasts of the Southern Wild transported me and showed me something I haven't quite seen before in a film. It's unique but not perfect, leaving perhaps a few more details than this reviewer would like up in the air, but nevertheless charming and moving me along the way. This film seems to have been a labor of love for its co-writer/director, Benh Zeitlin, taking a distinctive story from a small one-act play (by the film's other co-writer, Lucy Alibar) and making something that will not soon be forgotten. 8/10

*If this was meant to be New Orleans, how much of the more down-trodden areas were engulfed by the water?

P.S. Sorry for the late review this week, but I've been in process of preparing for a summer internship away from home. Also, a favorite television show that was cancelled seven years ago made its return with a binge-ready 15 episodes, so I may have been distracted. Just a little.

Beasts of the Southern Wild

by Tyler Darke

      I begin like this often, but this will be a short review. Beasts of the Southern Wild was a film that I had wanted to see since I heard about it gaining attention before the Academy Awards. It took awhile, but I was finally able to catch it on a movie channel and record it.

      Unfortunately, I was not nearly as impressed as my colleagues. We all watched the movie together, and had different reactions. I found the movie to be really slow and boring at times. There were some beautiful scenes that captured my attention, but there were also a lot of very slow parts. The overall story was intriguing and the acting was phenomenal, but I don't think the film was incredibly successful.

      I was extremely impressed by Quvenzhané Wallis, who played Hushpuppy, and I definitely agree with her nomination for Best Actress. She expressed the maturity and discipline of a veteran actress at such a young age. Her ability to capture an audience and lead them through a film at only nine years old is unbelievable. I was also incredibly impressed by Dwight Henry who played Wink, Hushpuppy's father. He deserved a nomination for Best Supporting Actor, and it's unfortunate that he didn't receive it.

      If you're looking for a movie to watch, this isn't a bad choice, but don't expect to be overly impressed with the film. You can look forward to quality acting and a great story that is unfortunately not presented very well. 7/10

Beasts of the Southern Wild

By Harry McPhaul

          All in all I was pleased to have watched Beasts of the Southern Wild.  At first it felt like a documentary that depicted a group people living in a post Hurricane Katrina environment away from society.  It turned out to be the struggles of one little girl with her father and growing up.  She has to clearly see, although she never says anything until almost the end of the film her father getting sicker and sicker until he eventually passes away.

          This was one of the best parts to the film.  The relationship between Wink (father) and Hushpuppy (daughter) always seemed to be one or two words away from verbal abuse.  Wink only actually hit her once but he was constantly yelling at her due to emotional outbreaks.  Hushpuppy was probably around 11 and was under the constant stress of trying to become her own person but also not upsetting her father.

          Although Wink was endlessly yelling at Hushpuppy, it was not always negative.  He even went along with one of her tantrums and started throwing things around like her.  This lead to the two laughing it off and all was forgiven.  In some of the scenes in which Hushpuppy is shown talking to a very sick Wink the dialogue seemed to get a little boring. 

          One of the flaws I had with this movie was how some of the scenes dragged on.  For instance, throughout we see clips of a few Aurochs.  Aurochs are prehistoric animals Hushpuppy learns about in school.  In the film they are too shown to represent that nature has no mercy.  There was short video of them in what seemed like almost random spots of the film.  I felt as though they were shown in excess.

          Overall, I did like the film.  I liked how it was a different story about post Katrina rather than some who got back on their feet and are rebuilding their life in a modern society.  Even though some of the scenes went on a little too long it was still a moving film.  I would recommend this film.  I would give it a 7.5/10.

The Great Gatsby

A Good Gatsby

by Hunter Isham

        I remember being quite excited for this film when I first read The Great Gatsby in 2009 as a junior in high school. Without having seen any of director Baz Luhrmann's films at the time, I still considered him an excellent choice to capture the wild story of America at its most recklessly opulent. He's known for his flamboyant directorial style (something that stretches back to his excellent Strictly Ballroom, although probably best demonstrated in Moulin Rouge!), not to mention that he has a sturdy track record with creative adaptations of timeless literary classics, particularly his William Shakespeare's Romeo + Juliet. Leonardo DiCaprio, also attached to Gatsby back then, starred as the titular lovestruck teen in that film, similarly seemed to me to be the perfect choice for the titular character of F. Scott Fitzgerald's classic. As the years passed, I grew more excited, especially as the excellent cast filled out and filming began. Finally released, this new big screen rendition of The Great Gatsby doesn't really live up to the book, but it may be as good as Gatsby can get in cinema.
        The story here, young bondsman Nick Carraway lives next door to the exorbitantly rich Jay Gatsby, a mysterious man who is holding out hope that he'll reunite with lost love Daisy Buchanan, is well known, and rather than use a paragraph to explain it, I'll just jump right into what makes this film work. The ensemble is the true key to the film's success, with each part cast with the right performer. DiCaprio is unsurprisingly fantastic as Gatsby, taking the same charisma he had as Howard Hughes in The Aviator and tweaking it with the proper amount of mystique, not to mention an accent that makes him sound like a relative of Katharine Hepburn. He perfectly portrays the hurt and longing, as well as the undying hope and optimism that he will eventually get the one thing his money can't buy. This object of his affection is of course Daisy, nicely played here as a damaged and somewhat bewildered woman by Carrie Mulligan. Tobey Maguire rounds out the main trifecta as Nick, bringing his usual naiveté to the role as he moves the story along via flashback. He, like DiCaprio, seemed like a perfect marriage between an actor and his character when cast. Joel Edgerton nearly steals the show as Tom Buchanan, Daisy's brutish husband, always a hulking presence compared to Gatsby and especially Nick. Isla Fisher and newcomer Elizabeth Debicki are both well-suited to their respective roles of Myrtle Wilson and Jordan Baker, though both are also underused (Debicki gets some time to shine early on, but practically disappears as the film goes on).
        Having cast the right actors for the iconic characters, Luhrmann, who co-wrote the screenplay, then had to apply his patented flair and anachronistic musical taste, two elements that when combined, perfectly demonstrate that nearly unbearable opulence I mentioned. The party scenes in this film are truly insane, as unrealistically garish as they possibly could be, yet that's what makes them a Jay Gatsby party. The more debatable artistic touch is the use of hip-hop music swirled in with the appropriate jazz (Jay-Z produced the film's music alongside Luhrmann). The music is what helps sell just how wild these parties are, because while I am no fan of hip-hop (I would prefer the period jazz), and as I would understand how jazz was revolutionary and seemingly crazy in the 1920s, there is no escaping that the music of the period would even at its loudest and most untamed seem just a bit quaint. The use of modern music in this film is an artistic choice rather than a soundtrack cash-in for those involved, because it takes the creative route of melding two styles together, resulting in jazz covers of pop hits that open up a new way for the audience to connect with the story in the same manner as readers in the 1920s would with Fitzgerald's use of jazz in his novel.
        Although Luhrmann's taste in music is a big part of his public appeal as a director, his visual style is a part of his success, and in Gatsby it's mostly worth commending. This film is a big budget, CGI-enfused, 3D extravaganza, and while that all sounds like a way to get a coveted young audience in the seats for story that lacks explosions and the presence of Robert Downey, Jr., there's no denying that it's all in the service of the story. The booming New York of the 1920s is beautifully, and hyper-realistically, rendered here, bursting with color and personality, owed both to the cinematography, special effects, and the costumes and production design (both credited to Luhrmann's wife). The one moment in the film that most perfectly captures the style and wonderfully overbearing energy is DiCaprio's formal introduction during one of his parties. I won't give away all the details, but it does involve fireworks and that grand crescendo in Gershwin's Rhapsody in Blue.
        For everything Luhrmann gets right in this film, including the interesting music and wonderful visuals, the pacing never really hits a smooth consistency. The film is a bit slow until we meet Gatsby, but it nearly comes to a screeching halt when he and Daisy share the screen. This has nothing to do with DiCaprio, Mulligan, the visuals, or even the lines they recite, but rather the nature of approaching a classic piece of literature with too much reverence. With everything that Luhrmann and his team gleefully tweak for the sake of creativity, the story remains very much intact, and as a result the film just goes on for too long. When things pick up again (following a tense and excellent scene at the Plaza in New York City), the story seems to fly by the remaining events, including an iconic scene involving Gatsby's speedy yellow car. I can't imagine stretching the scene out as it does involve a split-second event, but it's just about the last "crucial" scene in the film I was anxious to see, and it was over just as quickly as it began. The story concludes as fans of the book know it will, although the entire film is bookended by a sequence with Nick at an asylum, recounting and writing his tale, a device to deliver full passages from Fitzgerald's text that works at first, but eventually becomes a bit overbearing (sometimes too much narration, regardless of how well-written, is just too much).
        Baz Luhrmann's The Great Gatsby is a good film that may have only gotten better by altering the story, something that seems like heresy compared to cutting a few minor characters from the massive Harry Potter books. I have not seen any of the other Gatsby adaptations, the last serious attempt being 1974's film with Robert Redford as Gatsby (I've read that it's very boring), but I would wager that they've all failed in some way by either not understanding the source material or simply doing a poor job by trying too hard to make the perfect Gatsby. Luhrmann puts his spin on the story, and it's largely successful, but he cannot escape the sad truth that Fitzgerald's story is likely one that will never have a cinematic adaptation as widely loved as The Grapes of Wrath or To Kill a Mockingbird. This film does remedy what may be the novel's weakness (as source material), which is that it tells a human story rather than an American one. Reading the book in high school (twice, no less) the focus was not just on the characters but on the symbolism and meaning, things present in film but not necessarily at the forefront when we have flesh and blood people bringing these characters to life. Of course, feeling something for the characters doesn't mean too much when you start to check your watch regularly throughout a film, but it is worth noting. This Gatsby comes close, and it's a film that may improve upon subsequent viewings, but for now it's goal of adapting the great American novel seems just out of reach, not unlike that green light. An ironically fitting fate for a movie about the ultimate close-but-no-cigar character of fiction. 7.5/10

The Great Gatsby

by Tyler Darke

      I have to begin by saying that I have never read the book in which this movie is based. I tried to, since it was required reading for a high school English class, but I couldn't get into it. However, don't let that turn you away from reading the book. I am a very visual person, and few books are able to catch my attention. From what I've heard, it's an excellent book for those who connect with it. Anyways, that said, I did not know the complete story before watching the movie. I only had a basic understanding of the plot and characters.

      I was extremely excited for The Great Gatsby to come out, especially after seeing the cast selections. To people who know me, it is no secret that Leonardo DiCaprio is one of my favorite actors. I was hoping his performance in this movie would be deserving of an Academy Award, and wow...it sure was.

      I always expect excellence from DiCaprio, but his portrayal of Jay Gatsby went beyond this expectation. This was, in my opinion, the best performance of his career so far, and it would be incredibly hard to top it, although I think Leo is up for the challenge. He brought every detail about this character to life so beautifully, all you could do was be amazed and drawn into his story. It was a depth of character that I can only compare to the brilliance of the great Anthony Hopkins' performance in Silence of the Lambs (one of my favorites). DiCaprio showed a similar level of brilliance as an actor that was living and breathing his character seamlessly. I could go on for days about his performance, but I think I've gotten my point across.

      With such a dominating protagonist, you might expect some of the supporting characters to be overshadowed, but this was not the case. Let's start with Tobey Maguire, everyone's favorite Spiderman (well maybe not everyone's...but he should be). I was really excited to see him in a big movie like this, because I've always been impressed by him as an actor. I'm happy to say that he did not disappoint as Nick Carraway, friend of Gatsby and cousin of Daisy Buchanan. He was also our narrator in this film; a deviation from the original story. He presented a character caught in an awkward position while trying to be a good friend and cousin in the middle of a romantic connection. Maguire showed the vulnerability of Carraway while still showing, at times, his strength and dedication. This character analysis is getting a big long, but I have to mention that Carey Mulligan was incredible as Daisy Buchanan and she deserves a nomination for the Academy Award for Best Supporting Actress.

      I thought the greatest strength of this film was the incredible cast, but I have to give credit to a couple other aspects as well. The music choices were flawless. Knowing this film was set in the 1920s, I was expecting to hear a lot of old, tired music that would be hard to relate to. I was so happy that the music chosen was not old or tired at all. There was a great mix of contemporary music and covers of older songs. It made the movie much more relatable, which I really appreciated. The costumes and art design also deserve mentioning. They were both perfectly done, from the lavish parties to each and every character's outfits.

      I think it's about time to wrap this up. The Great Gatsby is by far my favorite movie of the year so far. I am confident that my choice for Best Actor this year will absolutely be Leonardo DiCaprio. I truly hope this is the year he wins it for the first time, as it is long overdue for him and this performance was incredibly special. As of now, this movie is also my choice for Best Picture and I doubt that will change. If you haven't seen it yet, you're missing out on an incredible film, Old Sport. I can't wait to see it again and add it to my collection. 10/10

The Great Gatsby

By Harry McPhaul

          The Great Gatsby was truly a well done film based off a classic book.  I did not read the whole book although it was a part of one my high school English class requirements but I could enjoy the film.  From the parts that I did read I found the book to be confusing and difficult to comprehend.  The film does a great job in making the story more understandable without it losing some of the deeper elements.

          I was able to pick up on these aspects but could not think of what exactly they represented.  For instance, the significance of the green light that docks across the bay from Gatsby where Daisy lives.  In the film they eventually state that it was supposed to symbolize Gatsby’s dreams and hopes in the future that he would occasionally reach out toward and that he connected those things with Daisy.  This was one part that made the film more enjoyable.  They actually took the time to explain one the key points to whole story.

          This film would not have been as finely done without a superb acting ensemble.  Leonardo Dicaprio gave another one of his better performances and I have begun to expect nothing less.  He was able to portray Jay Gatsby exactly how I would have pictured him down to every smile or inflection in his voice.  Tobey Maguire I felt gave the best performance.  His ability to create Nick Carraway as this young adult in a big city who is looking to build his life on his own was fantastic.  His acting in this film seemed overshadowed by that of Dicaprio but after letting the movie sort of sink for a few days I can see the importance of having Maguire play Carraway.  The acting was one aspect that made this film likeable, another was the music.

          Going into the film I thought that they would choose to play the music of the time (1920s) during Gatsby magnificent party scenes.  They ended playing music that we would consider for a party.  After speaking with Tyler Darke after the film he explained to me that they chose to do this because to the party goers in the film this was what their music would have sounded like.  It made it easier for me to connect with them because I could actually imagine myself there with the relatable music.

          I felt the fashion and music were under rated components to this film.  The acting however was not.  It was a cast that had great chemistry together.  I would nominate Tobey Maguire and Leonardo Dicaprio for best actor and best supporting actor.  It was a film that I would recommend you see. I would give it an 8.5/10

The Lake

By Harry McPhaul

The Lake, done by a group of students for a class project.  So obviously do not go into viewing this short film as one of the best of all time.  Also, I there was no one in the group who had a special talent in envisioning how a film will ultimately be perceived by the audience.  For a class project I am sure they did fine and probably received a B.  But if I were to judge this alongside past film projects I have viewed in class I would have to say it was just alright.

I realize that they had very little time and not a lot of experience in film production.  I am still trying to figure out the overall plot or purpose to the film.  It was loosely based off of Mulholland Dr., which is a classic confusing and suspenseful movie.  The Lake was more about trying to make it confusing just to make confusing.  There was no ending point on why it was so unclear. 

The whole time I was wondering what the lake is and what happened there.  At the end of the film it did not raise any more questions or leave any clues for the audience to put together.  There could have some emphasis put on what exactly happened at the lake rather just saying “the lake.” A lot of these details could have known if the students had more experience. 

The film overall was done to get a passing grade.  I am willing to bet that it is better than some of the other films submitted in that class.  It did lack some categories such as making it bizarre and mystifying like Mulholland Dr., but it did do well in making no awkward pauses in the script.  Everyone seemed like they knew exactly what was going on and was able to portray the right emotion.  This is what kind of saved the film.  Overall I would give it a 6/10.  Check it out if you have the time its only five minutes.

The Lake

The Student Film, A Rough But Noble Art Form

by Hunter Isham

        After a brief hiatus, we're back with a special treat. This week we'll be reviewing a film made by a group of students including our very own Tyler Darke. Viewing video projects made for school is an interesting prospect, as you can see work that comes from a wide range of filmmakers. As far as I know, The Lake was made by a group of relative amateurs, or at the very least they are not pursuing careers in the film industry*. With this in mind, I immediately found a lot to admire within its short 5-minute runtime. Eerie music was used well, shots were framed in a fairly interesting way, and the plot kept me watching intently. As fate would have it, this film's story is what's had me thinking about it for the past few days.

        After our last podcast recording session (with some help from the scheduling gods, we should be back at it soon), Tyler told Harry and myself about this film assignment he had for a class in which each group was assigned a film to emulate with their own production an attempt to capture some of the qualities of David Lynch's Mulholland Drive, which is a film I've yet to see. I am aware of that film's (and its director's) stranger qualities, so I was prepared for a somewhat mind-bending experience. What The Lake delivers is certainly not simple, but I can't say it clearly resolves the running mystery it presents. I don't want to spoil it for you, but I will say that the story revolves around three young women, one of whom is obsessed with "the lake," as well as a ghostly figure who seems to appear when she disappears into her thoughts. We're never certain of what we saw, or why we saw it, but once again, this may be the point. Mulholland Drive may be similarly inconclusive, in which case The Lake would successfully capture some of Lynch's cinematic essence.

        While the plot might leave you scratching your head a bit, there is much to admire here. As I stated above, creepy music is well-placed in the film's narrative, accentuating the moments of chilling confusion. A pet peeve of mine with amateur films (especially ones I make, but that's neither here nor there), is camera placement, as framing a shot properly can make any video look more professional, and I was fairly impressed with the shots in The Lake. There is quite the methodology behind how we choose angles and lighting, but disregarding that technical mumbo-jumbo, I can simply say that this film is visually interesting. Things never look flat or boring, and with an amateur short film that's just about perfection. The same can be said about The Lake, a film that may leave you with questions, but never has you checking your watch as it briskly moves forward. This short film is absolutely worth your 5-mintues, because whether or not you understand it, you'll still be glad to see something that tries its best to tell a story with a complicated set of tools. 7/10

*Of the young men and women involved in making of The Lake, I only know Tyler, so it is possible some of his fellow artists are working to become writers, directors, producers, etc...