Attention Young Filmmakers: Go See These Movies

“Let’s go see Attack the Block,” J said. “Okay, sure,” I replied. I had no clue what this movie was but it was a lazy Sunday afternoon and with the Denver Film Center only 2 blocks from our apartment, I figured why not? Here’s what IMDB says about it: “A teen gang in South London defend their block from an alien invasion.” A very succinct and accurate description, I couldn’t have said it better myself. The next day we decided to watch Box Elder for no reason other than it was on Netlix instant (or are we calling this one ‘quickstant’ now?) and it was shot in my hometown of Columbia, MO. The description on IMDB for this movie is anything but succinct, so I’ll do my best here: a group of unmotivated but witty college students survive their last years of higher education with style. These films are very different. Aliens versus no aliens, lazy white kids versus child gangs in government housing, you get the idea. But one important thing they both highlight is how to make a very successful film without money, or at least very much of it.

Attack the Block is a prime example of how to make an action-packed horror film with very little resources. By choosing 1 location (see: the block) the film locks the viewer in by only revealing information as the characters discover it. There’s no cut to a big government agency that exposes a conspiracy (which would probably be shot in somebody’s uncle’s dentist office or the like) or even to another part of London, much less the world. This was an idea that was always stressed to me at film school: if you know someone who owns a bar, right your movie so it takes place in a bar. Don’t waste your money trying to transform your location into something it’s not, and if you can make it relevant like Attack the Block choose only one location.

With more technological advancements CGI and special effects are getting more affordable. That doesn’t mean you should spend 90% of your budget on a 1998-looking monster. While it’s getting more affordable the quality of CGI used in big-budget films is rapidly improving and the small productions simply can’t compete. Attack the Block avoids the need for mediocre looking CGI by creating ominous villains that lack detail and aren’t used for many close-ups. While the glow-in-the-dark teeth are a little campy at first they’re actually an ingenious way to define the location of the alien without having to make a fully-formed creature. One of the best uses is during the scene when the drug dealer, Hi-Hatz, confronts our protagonist, Moses, in a fit of anger. While Hi-Hatz stands with his back to the window with a gun pointed at Moses, we see dozens of pairs of glowing teeth inching towards him from the darkness outside. It’s not always about having money for the best effects but instead how creative you can be with what you do have.

Box Elder is a dialogue rather than action-driven film and one that young filmmakers are much more likely to attempt: a group of guys sitting around talking. One of the best decisions Todd Skalr, the director and star, makes is to extend the scope to cover a few years of college rather than a particular moment. Much of the comedy comes from the lack of change we see in the characters despite so much time going by. It’s also a great example of a snapshot film, where we don’t have the typical arcs in characters with a nice resolution at the end where everyone’s learned something. You can imagine that this is how these characters acted and interacted before we met them, and that they’re going to keep on going just the same once we stop watching.

Similar to Attack the Block this film cashes in on location: in this case, the sprawling campus at the University of Missouri. At one point a few characters do venture to Mardi Gras but I’d argue what the tangent adds to the movie isn’t enough to justify having to spend a lot of money on a second location. The same comedic devices could have been used at any large public celebration. By taking advantage of a campus with all its highlights (walking through the quad, eating at the same dependable sandwich shop, etc) the viewer is transported back to their own college experience. Although it’s far from government housing the campus is also a way to trap and re-introduce the same characters again and again without feeling forced. We all know the douche bag that kept showing up to every party, even though nobody invited him.

While Attack the Block was an action-driven film, Box Elder relies solely on dialogue. The lack of action is another element of humor: this particular group of guys are all talk. Todd Sklar is a talented writer who knows the genre and has the skill to let his words drive the film. It’s not an easy task and something most young filmmakers struggle with, but Sklar is able to keep the comedy and tone consistent from beginning to end. There are no dips where the viewer is waiting for the next joke as the script is natural and flows remarkably. When describing a film and its characters, “quirky” is almost a bad word in independent cinema today. Since the dawn of Wes Anderson the formula has been repeated tirelessly with fake, overly-conscious characters abound. To watch a character-driven comedy about misfits that feels this honest and legitimate is a welcome change. If you find yourself in the writing phase thinking of a list of random oddities each character can possess… stop. A true group of friends are similar. They talk similarly and they joke similarly because if they didn’t they probably wouldn’t be friends at all.

Dramatic actors are hard to find… especially when your list of resources is limited to your friends and family. Because of this most young filmmakers choose the genres of comedy or horror when making their first movies. By taking stock in what you’re good at and using creative solutions films shot on a tight budget can be just as satisfying or even more so than Hollywood blockbusters. Unless you have a rich uncle and some connection is L.A. In that case, go forth in making Final Destination 15 and enjoy swimming in your money.

Watch It Now: "Last Train Home"

"Last Train Home" is a stunningly beautiful documentary that tells the story of a family in China struggling with everything from money to raising a teenage daughter. The mother and father, Suqin Chen and Changhua Zhan, respectively, work at a factory in the city making clothing to be exported (with the U.S. presumably being one of the big customers). They are able to travel back home to their rural village only once a year, during Chinese New Year, to see their daughter, Qin, and son, Yang. The opening of the film tells us that families traveling home from the cities during Chinese New Year is the largest migration of humans in the world.

The story could be told in an incredibly sympathetic, contrived manner that I'm sure would pull at your heartstrings in all the obvious ways. But the best part about "Last Train Home" is that it avoids all those pitfalls and simply lets the family's story come about in a completely natural way. You're a fly on the wall, popping in every once and a while over the course of 2 years to check on their progress. The only time we feel self-conscious of this is after an explosive fight between the father and daughter that clearly had been building for years. Qin looks straight at the camera with an accusatory glare and screams right at us. It's enough to make anyone shrink back in their seats with guilt. Even the editing feels delicate and lets scenes play out like they would at any other family dinner. The good, the bad, and the ugly; it's all there.

Another strength to the film is the structure. At the very beginning it looks like the film will be a "will they or won't they" as we see the mother and father struggling to find a train ticket. They talk to co-workers, visit chaotic train stations, and call their kids to let them know it might not happen this year. But rather than focusing on this one visit for the entire film, after the parents finally get their tickets and make it home we only get 2 brief scenes of the family together. And then... it's back to the factory. It isn't much of a pay off but that's why it works so well. For the parents, this is a very small part of their lives so the viewer is treated to the same harsh reality. Rather than being about the "big visit home", the movie is about the monotony of life. Before you know it, the year is up and it's back to the insane train stations to do it all over again.

Often times "Last Train Home" feels like something that takes place in the past and I found myself forgetting that this wasn't some historical account but a reality many people are living right at this very moment. There were several reminders, though, of the contemporary setting: the father bringing home a cell phone for his teenage daughter as a gift and that same daughter waitressing at a dance club for money. The cell phone especially felt like a shock, showing up in the tiny home in a very rural part of China where the ancient-looking grandmother still tends to the farm by hand. Juxtaposition is a huge strength of the film as well, not just with old and new but also the long sweeping shots of the breathtaking countryside versus the dingy city.

An incredibly moving documentary, I found myself emotionally invested in this family's story right from the beginning with hardly any backstory at all. Days after watching it I still find myself wondering what's come of the family members and wishing I could check in for just a minute.

**"Last Train Home" is currently available on Netlix instant.

Quick Review: Kick Ass

I wasn't totally sure what to expect when this movie arrived in the mail. I'd heard mumblings of it being overly violent but wanted to see it for myself. My biggest problem with Kick Ass wasn't the violence (although at times it did feel unnecessary). No, it was the fact that the people behind Kick Ass clearly didn't know what kind of movie they were trying to make. At times it was a raunchy high school comedy. At others, a dark revenge thriller. And sometimes... a commentary on technology and the de-sensitization of "kids these days"??

The tone was constantly readjusting to fit whichever of the 3 main stories were being told at any given time. Surprisingly enough I didn't hate Nicholas Cage in this role like I usually do. He committed 100% which is more than I can say for the majority of the cast. But Cage's story line alone as the disillusioned father training his young daughter to help seek his revenge could have been it's own movie entirely. The result is a lack of flushed out characters and plots, none of which ever give you the satisfaction you're really looking for in a comic book action movie.

And finally, I don't think I'll ever be okay watching an 11 year old girl get shot, chocked, and shot again. No matter how annoying the child-actor may be (and trust me... she tried).

My advice? Rent "Scott Pilgrim Vs. the World". So much better.