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“Blood on the Plain” Review
I thought I’d take a break from the insanity of the awards season to provide a little spotlight on an outstanding short film to come out of the Chicago area. Having spent six years in film school, I can both understand and relate to what it’s like to be an unrecognized talent, attempting to make a standout film with practically no budget. With that being said, to this little endeavor in moviemaking, I say “bravo.”
The story is set against the backdrop of small-town life in Kansas on the day of the high school homecoming dance. A tribe of people, thought to be extinct for hundreds of years, have returned, evolved into a form of creature never before seen or imagined. Seeking revenge for the sins of the town’s ancestors, the demons strike at what is most precious to them, prompting the residents to band together and put a stop to the evil, once and for all.
Director Mac Eldridge (helmer of “Chemical 12-D,” which played at last year’s Fantasia Fest in Montreal), has gone above and beyond in crafting a fantastic, cross-genre experience: a horror-western. Imagine, if you will, the ominous, wayfaring overtones of “No Country for Old Men” meeting the gruesome action and thrills of “Predator.” The film packs some genuinely philosophical vibes that, while not reaching fruition, raise its caliber a notch or two above what a short like this could normally offer, and yet never skimps on its level of pure excitement.
For a movie in which the characters are not usually the main draw, the actors really hold their own. Otis Fine does a remarkable job of anchoring the ensemble as the thinking-man’s bartender. Richard Alpert, meanwhile, nails the film’s climax, encompassing everything you could hope for from a hard-nosed, eyepatch-wearing sheriff who can still handle a Winchester rifle. The emotional core of the film, however, is held by Joey Bicicchi and Dani Wilkin, the two star-crossed high school lovers who bear witness to the town’s tragedy. Caught in a whirlwind of horror and carnage, we see the massacre through their eyes, and it isn’t pretty.
The above-mentioned storm pertains to the horror element of the film, which will likely draw a large amount of viewers and they will not be disappointed. First off, the creature design is stellar. The makeup team created a lean, mean, savage superhuman with plenty of unique touchups and details that add a distinct element of character. They meet all the necessary criteria to be added to the long list of things you would not want to run into in a dark alley. Meanwhile, the title of the film really lives up to expectations with some outstanding gore. There’s enough stabbing, throat-cutting and general slaughter to keep any self-respecting horror fan glued to the screen.
It’s worth mentioning that much of the film’s success would not have been realized without its fabulous technical qualities. This film, which was made with a minuscule amount of money, looks, sounds and feels like a movie that should garner envy from any big-budget Hollywood producer. The cinematography, crafted by the young Chicago phenom David Wagenaar, is top notch. The film’s warm color palette help heighten the authentic western vibe, while Wagenaar’s staunch, high-contrast lighting during the massacre greatly elevates the level of terror. The film’s production design team successfully pulled off transforming suburban Chicago into rural Kansas (not an easy feat). Finally, the sound mix by Rob Davis adds a quality to the film that absolutely cannot be beaten.
Perhaps the greatest compliment one can give to “Blood on the Plain” is how well it works as a short film. Some may argue that the movie lacks a solid build-up. Yet, all in all, what more could you want for your twelve minutes? The film wastes not a second of its running time and delivers more scares, thrills and raw emotion than any other short that I’ve seen this year. The filmmakers wish to soon expand this film into a feature, and I can only hope beyond hope that it happens. When you see this short you will know what I mean, because, by the time the credits roll, the only thing you will want is more. You’ll be begging for it.
“Blood” is about to start its international festival run and is not yet available for streaming. However, you can go to the film’s website and can find all sorts of ways to see it. The DVD is on sale for ten dollars and is packed with all kinds of great extras. Or, if you’re as self-conscious about blind buys as I am, the film is also available for download in a stunning 2k (a quality higher than HD) transfer for only four dollars. Trust me, this film is worth your four dollars. Help support these phenomenal young indie filmmakers.
Below is the film’s official trailer and a link to their site:
Blood on the Plain’s Official Site
New “Blood on the Plain” Trailer and Poster
This is a little film that I have been following closely over the past year. As some of you may recall, I made a few posts about the short as it was in the midst of production, and since then, it has grown by leaps and bounds. Director Mac Eldridge leads a stellar cast and crew, made up of dozens of rising stars in the Chicago film scene. Here they have crafted a visceral and entertaining short film that is about to take the world by storm.
Here’s a brief synopsis of the film, as stated by the film’s website:
Part western, part horror, “Blood on the Plain” is a self-aware pulp exploration of a small town in the wake of tragedy. Following a savage massacre at the Wadsworth High School homecoming dance, the townspeople take up arms and under the guidance of four seasoned trackers, set out in search of justice. Those who survive will be forced to square off with the assailants; a breed of man never before seen and born under a previous generation’s offense.
All in all, the concept is a virtual cross between “No Country for Old Men” and “Predator.” If you’re wondering how those two films could mesh, I believe that’s evident of the stark originality of this piece. Right now, the film exists as a short narrative that focuses on the massacre and the events that lead up to it. However, the film is now gaining a lot of traction in different film communities and is about to begin its international festival tour. From there, it will hopefully gain enough support to become to the full feature it deserves to be.
Everything I say about this exciting project could not do enough justice as the trailer below. I must warn that were it viewed by the MPAA, this preview would certainly carry a red band rating. It contains some footage of the film’s fantastic make-up and special effects which can get a little gory at moments. Yet, considering the movies I have mentioned above, that shouldn’t be unwelcome or a surprise.
Check out the trailer, along with photos, cast and crew biographies, and behind the scenes footage, at the link, below:
“BLOOD ON THE PLAIN” TRAILER AND WEBSITE!
New Additions: “Sahara,” “Frantic” and “Stagecoach”
Haven’t done one of these in a while. Once again, these are just some films that I’ve seen recently for the first time and added to The Mitchell List. I’ve featured them here, with a short review for each.
“Sahara” (Zoltan Korda) – 1943
No, I’m not talking about the Matthew McConaughey/Penelope Cruz turd that came out a few years ago. “Sahara,” starring Humphrey Bogart and Lloyd Bridges was not only a movie about World War II, but one of the first films ever made featuring Americans fighting in said war. It takes place in the deserts of North Africa and follows a diminished American tank crew, a handful of stranded British soldiers and their fight to protect a water hole from a Battalion of five hundred Nazis. The film features some good cinemtagraphy, excellent sound design and some riveting action scenes. However, I was kind of put off by the mean spiritedness of the American soldiers, tricking the Germans who are dying of thirst into coming to an empty water hole with the intent of slaughtering them. Overall, it adds to the central propagandist logic of the film of glorifying the G.I.s and antagonizing the Nazis as the real battle raged across the ocean, back at a time period when our soldiers really did have a cause worth fighting for.
GRADES: B * * * 1/2 / * * * * * 6.8 / 10.0
“Frantic” (Roman Polanski) – 1988
Roman Polanski has been known for a lot of things, both in the filmmaking world and outside of it. However, after seeing films like “The Ghost Writer” and now this, one facet that I can definitely accredit to him is perfecting the formula of the Hitchcock thriller. Harrison Ford is an ordinary man put into an extraordinary situation when his wife is kidnapped while both are on a business trip to Paris. Ford must go beyond his limitations as a private citizen to solve the kidnapping and ends up getting involved in a criminal conspiracy in the process. This is a great little thriller with some classic scenes. Polanski and Ford both do a fantastic job of never letting the main character tread into action-hero territory, keeping the suspense alive by allowing the audience to see themselves in the protagonist’s shoes by constantly asking themselves what they would do if put in said situation. My only huge qualm with the film is its technical quality. There’s some interesting shots and cutting work in play. Yet overall, the film looks not only plain, but boring. Still a successfully thrilling film.
GRADES: B+ * * * * / * * * * * 7.8 / 10.0
“Stagecoach” (John Ford) – 1939
With this grand tale of high adventure, John Ford created, perhaps, the mother of all westerns. A true motley crew of passengers, including a marshall, a prostitute, an alcoholic doctor and an fugitive outlaw, must take a stagecoach through volatile indian country. They must put aside their differences, band together and survive the journey, together. Classic films from the golden age of cinema rarely display such excitement and raw adventure. Ford’s portrait of the separate characters forming a courageous bond, though certainly not without turmoil, is the strongest prospect of the film. The audience really becomes a member of the journey. It’s not difficult to understand why this film, among others, inspired an entire generation of kids playing cowboys and indians. The film also features some great performances, the standout being Thomas Mitchell’s Oscar-winning work as the comic and philosophical doctor struggling with his demons.
GRADES: A- * * * * 1/2 / * * * * * 9.2 / 10.0
Now, since it has been a time since I authored one of these posts, I’ve obviously seen a lot more than three films since the last one. Therefore, I thought I’d put up my ratings and simply say a few words on the other features that I viewed.
“The Last Emperor” (Bernardo Bertolucci) – 1987
Certainly a gorgeous-looking epic which has some well-directed scenes, however lacking a strong protagonist or a worthy third act.
GRADES: B * * * 1/2 / * * * * * 7.4 / 10.0
“The Beach” (Danny Boyle) – 2000
By far, the worst outing of Danny Boyle’s entire career. A true misstep from beginning to end, with flaccid characters that seek out a psuedo-“Lord of the Flies” style of Spring Break.
GRADES: C- * * / * * * * * 3.6 / 10.0
“Suspiria” (Dario Argento) – 1977
A true horror classic with some highly influential camerawork and one hell of an unorthodox and all together harrowing musical score.
GRADES: B+ * * * * / * * * * * 8.0 / 10.0
“Flirting with Disaster” (David O’Russell) – 1996
O’Russell is definitely a director who has gotten better with age. This film is a lot of fun with an extensive cast, but is just too goofy to be taken seriously.
GRADES: B+ * * * 1/2 / * * * * * 6.8 / 10.0
“Enron: The Smartest Guys in the Room” (Alex Gibney) – 2005
The breakout film for rockstar documentary director, Alex Gibney, which uncovers corruption with excitement and poise.
GRADES: B+ * * * * / * * * * * 7.8 / 10.0
“Iron Man 2” (Jon Favreau) – 2010
This sequel, lacking the wit and excitement of the original, doesn’t quite flush the franchise down the toilet, but makes it a lot less reputable.
GRADES: C- * * / * * * * * 4.0 / 10.0
“Catch-22” (Mike Nichols) – 1970
I’m usually always up for a good war/political satire, which this is. However, the plot is so insanely convoluted that it’s just downright confusing, but not in a good way.
GRADES: B * * * 1/2 / * * * * * 7.2 / 10.0
“Trade” (Marco Kreuzpainter) – 2007
A compelling, yet overly self-righteous, thriller about sex trafficking features Kevin Kline in a role with nearly no comedy and one really weird and unbalanced ending.
GRADES: B- * * * / * * * * * 6.0 / 10.0
“Cool World” (Ralph Bakshi) – 1992
Ridiculously bad on all accounts. This movie makes “Space Jam” look like an undisputed masterpiece.
GRADES: D * / * * * * * 2.4 / 10.0
“All the King’s Men” (Robert Rossen) – 1949
A true acting showcase. Obviously superior to the remake, yet still not coming close to grasping the depth and insight of the novel they’re both based on.
GRADES: B * * * 1/2 / * * * * * 7.0 / 10.0
“The Adventures of Robin Hood” (Michael Curtiz) – 1936
Definitely, the best film I’ve ever seen by Michael Curtiz. Like “Stagecoach,” it’s a source of pure inspiration for imagination and adrenaline.
GRADES: A- * * * * 1/2 / * * * * * 9.0 / 10.0
“Dodsworth” (William Wyler) – 1936
This early work by one of my favorite directors can be dry and unentertaining a times, but features great production value and an extremely satisfying climax.
GRADES: B+ * * * * / * * * * * 7.8 / 10.0
“Blood on the Plain” Production Stills
As I said, I do intend to have more of a production aspect to this blog. I love reviewing movies and hope to have a career in the commentary process, but working on the films themselves is also quite a passion of mine. Recently, I’ve been doing grip work on a student short destined to take off and potentially be turned into a feature. It’s a contemporary horror/western that takes place in a small Kansas town. A tribe of nomadic creatures, thought to have died out, emerge from their caves to wreak revenge on a small town by slaughtering the high school homecoming.
The film is a joint effort between Water Cooler Productions, Black Apple Media and Dynamite Productions. The director is Mac Eldridge who is also producing, along with Aric Jackson and Kevin McGrail. The director of photography is David Wagenaar, the editor is Tom Dean and the production designer is Caitlin Laingen. The film is being shot on the RED One Camera.
Check out more stills after the cut:
The End of Oscar Season and What’s on the Horizon
So, the Oscar season is officially over. As saddening as the result was, I am fully ready to move on and focus on other things. While I do consider this site to be a year-long awards information center, let’s face it, there’s really not going to be a lot to say about it for quite some time now. Therefore I will be offering a few Awards Updates now and again until the season really kicks in.
However, for the majority of the time, The Edge of the Frame will be focused on movies themselves. I plan on focusing more on reviews, trailers, and news updates. I also plan on continuing with certain features, such as the New Additions to the Mitchell List, my assorted lists, as well as a new feature I’ve been planning that ties in with AFI’s own Top 100 List.
On top of all that, I plan on posting more information and updates on my own productions. While it’s my goal to become a professional critic and pundit, I still do spend a lot of time working on films, themselves. When I started this blog, I had originally planned on including a lot of features having to do with my own work, but never really got around to it. I intend to reverse that by posting everything from production stills (including the one above from a short film, “The Mystique” which I recently key gripped for), screenshots and even short films that I’ve edited either for class or my spare time. It should be a blast.
To kick this off, I’ve posted a trailer for a film that I am undoubtedly looking forward to in the coming year. Anyone who played the computer game “Oregon Trail” as a kid has to be excited for what is practically the film adaptation, “Meek’s Cutoff.” While looking a lot more dry and dark than the children’s game, this film really looks to be something of great, unorthodox adventure film. I highly doubt that the film will be up for any awards and you’ll probably have to search hard to find it in theaters. Yet this unusual-looking western starring Michelle Williams, Paul Dano, Will Patton and Bruce Greenwood looks like a 2011 film I will be sure not to miss.
According to IMDB the film will have a limited release on April 8th, but I wouldn’t hold any breath to see this get out of LA and NY by that point.
Or check out the full HD version from Apple Trailers.
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