CUT

REVIEW from JOE PESCI II below!!!

Release Date: 22nd February 2010 (DVD Premiere)

Director: Dominic Burns (Allies / UFO / Airborne / How To Stop Being a Loser)

Cast: Zach Galligan, Simon Phillips, Dominic Burns, Michael Socha, River George, Lauri Brewster and Danielle Lloyd

Writer: Alexander Williams (aka Dominic Burns)

Trailer: CUT

WHAT HAVE I SEEN THAT ACTOR IN BEFORE:

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One thought on “CUT

  1. By what criteria should we judge a film? I ask this seemingly silly question as CUT is a film with a concept by which it presumably wishes to be judged. Yes folks, this is the world’s first horror movie to be filmed in a single take! I know, just what we were waiting for! So, clearly, we must judge it as a film made in a single take. But surely we must view it also as, you know, just a film, like any other, regardless of all that technical tomfoolery and trickery (or lack of).
    Mind you, CUT is unlike any other film.
    Let’s get the whole ‘single take’ thing out of the way. Well, yes, the film does indeed seem to have been made in a single take. Well done to all concerned. That is pretty impressive, if utterly futile. (And, in retrospect, I quite liked the cheat at the start; not the content of the cheat which was dire beyond expression, I must stress that, but I did like the cheekiness of the cheat.)
    So, what about the film?
    Well, it’s short. And simple. And it’s better than AXED.
    So, a bunch of people are assembled at the archetypal cottage in the middle of nowhere. They appear to be involved in the media in some way, though this is pretty unconvincing. One of them (played by producer/ writer/ director/ star Dominic Burns, the auteur who recently gave us UFO) has a dark secret which is often referred to, without ever being divulged, which may (or may not) be the trigger for everything that happens on this night of doom. His buddies are Simon Philips (as a writer, supposedly) (with a dark secret) and Zach GREMLINS Galligan as Jack the Yank (with a dark secret). There are also two young ladies in attendance (Lauri Brewster and River George) whose characters have been constructed from pure cardboard (but rest assured, they too have dark secrets). (You will also see the BNP’s favourite model Danielle Lloyd making her movie debut as a babysitter. Don’t worry, she’s not in it long. If you can get past her, you’ll be OK. Well, not OK, but you’ll be past the worst part. The worst part of any film I ever did see. What I can’t work out is just how bad it’s meant to be.) Add Michael Socha as an eccentric pizza boy with a penchant for quite bizarre genital-based phrases (and his own dark secret), and you have a fairly standard cast just waiting to be chopped up into little pieces.
    So, obviously, slaughter is visited upon them, in the form of a man sporting black and white face paint. Or, as Simon Philips eloquently puts it (forgive me if I misquote but I think you’ll get the gist) ‘There’s a fucking huge fucking man fucking down fucking stairs right fucking now.’ It’s that sort of script. There are, as I may have mentioned earlier, dark secrets, some of which are revealed; the biggest secret – why does any of this happen? – remains a secret. This may annoy you. I mean, ambiguity’s a brilliant thing in its place, but this isn’t Pinter.
    At times, it is genuinely funny. Simon Philips gets the best lines – he’s much better at comedy. Mind you he is good in the moment when the intruder intrudes. Is the film scary? Not really; and if you’re a particular fan of gore, there’s not a great deal of that either. But you can play ‘guess the kill list’ and wonder how they managed to get in some gratuitous nudity, and construct theories as to what in the name of God is going on. And why does no-one ever eat the pizzas, the obtaining of which takes up a lot of screen time? (Apart from there being rampaging killers rampaging about obviously.)There’s a lot of running about and shouting, and I liked the bits where we’ve followed one character and walk back in on other characters who are in the middle of something which would, ordinarily, have been shown. But what the film lacks (apart from a coherent plot and sympathetic, credible characters) is the kind of claustrophobic atmosphere that a film made in one take in a single location would surely have inbuilt. I just didn’t feel that they were trapped, or even in danger. It felt like a film, rather than an unfolding of events that I could choose to believe.
    On the one hand, one wants to congratulate all concerned; after all, they’re doing (on a tiny budget) something which requires a huge amount of choreography both in front of and behind the camera; blood and costumes and lighting and props all seem to turn up on cue, and I didn’t notice any of the crew scrambling to get out of sight. And the cameraman does a sterling best-of-British job carting that thing around for all that time. On the other hand, there are (hopefully) hundreds of theatres across the country all putting on single-take events every night (just without cameras). And, frankly, of a higher standard. And if CUT had been made in the conventional way, yet ended up looking like it does, you’d probably want all involved to be kept away from film-making for a very long time. And yet, I still can’t quite condemn it as much as I feel I ought to. It’s seventy or so minutes of fun and nonsense, put together by a lot of people who just wanted to see if it would work, and it does. When I found this on a certain well-known website, there were two copies available, one for a pound, one for £57. Whatever you do, don’t buy the one that’s left (that’ll be the more expensive copy), but, should it fall into your lap, give it a whirl, and say ‘well done chaps; now go and make a proper film.’ Which Mr Burns did. He went on to make AIRBORNE. Make of that what you will.

    4 out of 10 – Joe Pesci II

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