'Would You Rather' - Weekly Film Analysis By: Unknown No comments

PRODUCED IN: 2013

RELEASED IN: 2013

TYPE: Feature Film

GENRE: Horror, Thriller

CERTIFICATE: 15

RUNNING TIME: 93 Minutes

FILMING LOCATION: USA (Pasadena, California)

LANGUAGE: English (American)

DIRECTED BY: David Guy Levy

PRODUCED BY: Maura Anderson, Zak Kilberg, David Guy Levy

WRITTEN BY: Steffen Schlachtenhaufen

PRODUCTION COMPANY: Periscope Entertainment, Dreamher Productions, Lambrick Foundation, Social Construct

DISTRIBUTED BY: IFC Films, Ascot Elite Home Entertainment, Cinemax, Klockworx

CINEMATOGRAPHY: Steven Capilato, Steve Callitri

EDITING: Josh Schaeffer

MUSIC BY: Daniel Hunt, Bardi Johannsson

KEY CAST MEMBERS: Brittany Snow, June Squibb, Jeffrey Combs

THEMES: Dilemmas, choices, psychology, humanity, morality, determination, scruple, conscience

Desperate to help her ailing brother, a young woman unknowingly agrees to compete in a deadly game of 'Would you rather', hosted by a sadistic aristocrat.

The cinematography in the film holds consistent tone and presentation, and with horror films especially, I very much believe that uniformed cinematography is crucial to preserving the mood. 

Throughout the film director of Photography Steve Calitri paints an unchanged vision for the audience. However, because of this, in several scenes, this constantly unchanging lighting was so out of place, that what should have been a scary or tense atmosphere was completely ruined. When the film returned to the game room to continue on with each round, the cinematography was really strong and balanced, exactly how it needed to be. However, the camera was never taken off the tripod for scenes that required it which created a true lack of kinetic atmosphere and tension in the scenes where people are running about and shooting.

Would You Rather is part of a horror breed lead primarily by Srdan Spasojevic and Pier Paolo Pasolini which is an attempting sociopolitical jab at those born into power, and their twisted definitions of pleasure and excitement. Combs’ Lambrick is very similar in many ways to Aldo Valletti’s President (of the 120 Days of Sodom) and Christian Bale’s Patrick Bateman (of American Psycho). In that they are all sadistic power players manipulating people to their gory ends.

One could also compare it to 'Saw' and, due to the torture parts, it could equally be compared to Julien Maury and Alexandre Bustillo’s 'Inside.'

Although horror film abominations such as Eli Roth’s 'Hostel' or Tom Six’ 'The Human Centipede' attempt to follow in the same trend, I believe Would You Rather comes a bit closer to this intention. It has very strong moments, however the lack of understanding in how to shift moods effectively does become a burden. 

At times, the writing can be very stiff but Schlachtenhaufen does show promise as a thriller and horror writer, and it’s nice to see his primary background in special effects didn’t bleed too heavily into this film. This film was a fair attempt, however, I don't believe that it was as successful as it could've been. That being said, when it was excelling, it was a gripping and fascinating piece. 

Film London 'Strings' - Weekly Film Analysis By: Unknown No comments

'Strings' is short film of the drama genre directed by Richard Turley and funded by Film London in 2015. It has themes such as coming of age, realisation, discovery, lies, secrets and desperate measures.

Bafta nominated multi-genre Director, Richard Turley has more than a decade of experience in broadcast television and more recently, film. His work to date has largely been factual or drama-docs though increasingly he is turning his focus to narrative drama. For Richard story is key and he has a passion for bringing great tales to screen whether through real life testimony or dramatic interpretation.

In 2012 Richard produced his debut independent short film ‘Darklight’ with backing form Film London. Directed and co-written by Richard the resulting film shines with imagination and charm that have become his hallmark as a director. Described as ‘a constantly surprising tale that leads you eager for a sequel ‘Darklight’ went on to be long-listed for a Bafta in 2013. Since then he’s made two more shorts including ‘Strings’ which won gold at Worldfest Houston before showcasing at the prestigious Palm Springs Shortfest, DC Shortfest, Columbus Film Festival and Miami Short Film Festival.

Strings is a story about Dean, who following the death of his wife, leaves the Army to care for his son Luke. Convinced his dad’s actually a spy, Luke embarks on a journey that leads him to discover the awkward truth. It is a boys own tale of secrets, subterfuge and fallen heroes set against a backdrop of 1970s Britain.

The narrative of the film is told through the narration of Dean's son luke whose innocent outlook on life is an effective juxtaposition with the darker subject matter of the film. Highlighting the issues touched upon through a child's perspective, although a filter of innocence has been places over the harsh realities of life. Luke narrates the film as though the whole story is part of a James Bond spy adventure, noting down times and events in his spies secrets notepad which again reinforces the themes of the film to the audience from a child's point of view.

It is also interesting to note the use of cinematography with in the film and its effect. For example, at the beginning of the film there are many orange and yellow tones used which connote happiness, warmth and comfort, together with happy upbeat music, consequently represent equilibrium within the narrative. 

However, when Luke embarks on his journey of discovery in search of the truth about his dad's career, the tones within the film suddenly change, to dark grey's, blacks and other dark shades such as brown and burgundy. This is symbolic of the dark nature of Dean's profession and the negative stigma that is attached to it. As Luke watches though a small barred window in the bathroom stall feels almost prison like, symbolising Dean's crimes and the overall negative atmosphere that is built through Luke's observation of the scene. This use of cinematography is an effective display of the disequilibrium within the film. 

And finally, when Luke returns to the comfort of his gold car and familiarity of 'the known', the colours return to the same yellow and orange tones once again.