I saw this movie last night at the Valley Film Festival in North Hollywood, CA. Warning: aspects of this review could be construed as spoilers, though no plot details are given.
While billed as a parody of 1950s low budget sci-fi and exploitation films, I think the filmmakers missed the mark, failing to understand the conventions of those genres that, to a modern viewer, make them campy and funny (e.g., ridiculously naive pseudo-science, archaic technology, outdated sexist, racist social mores, and the laughably unsophisticated pop culture of those times).
The filmmakers also failed to understand that even a parody requires solid story structure and fully realized characters with clear desires (and clear obstacles to achieving those desires). The result is muddled and meandering, with no story spine to pull the audience through from beginning to end. Since too little is set up for the audience to anticipate, the ending can't help but be an unsatisfying anti-climax.
That said, the music and musical numbers are quite good (the sound design top rate); though I would have liked the musical numbers better if they had also driven the story forward, or at least done more to flesh out the characters. As is often the problem with musical numbers in movies, forward story movement grinds to a halt, and we learn little or nothing new about the characters.
The film features several strong performances, particularly from De Anna Joy Brooks as Bliss, Kate Maberly as Dandi Conners, and Les Williams as Chip -- a feat particularly notable since the film was made in bits and pieces over the course of more than ten years. (Kevin McCarthy also turns in a good performance, his last film, despite being 90 years old.)
Will Keenan seems miscast as the titular lead. While he had the attitude and the moves, he lacked the gravitas (and strong singing voice) to carry the film. It's clear that he has no idea why Johnny X does what he does, nor carries any history of his alleged bad deeds. (This is also a failing of the script, which doesn't make the case that Johnny is as powerful as we are told.)
Creed Bratton works well as washed up pop rock sensation Mickey O'Flynn, but is undermined by the weak script, which fails to provide us even a glimmer of insight into why O'Flynn would be so loved and revered.
Reggie Bannister does a credible job as ruthless, self-serving promoter, King Clayton, but he is often undercut by the actress who plays his girlfriend. (Apologies, but I can't seem to positively identify the correct actress here on IMDb.) Though her character is a grotesque cliché, she brings a lot of energy to the role, hitting exactly the right tone -- overbearing, even annoying, yet still funny and, therefore, endearing.
As is the case with most celebrity cameos in indie films, Paul Williams isn't on screen long enough to make much of an impression as Cousin Quilty. Though there are indications that there is history between he and other characters in the story, the writing and direction of Williams' character does too little to bring that history to life.
Director of Photography, Francisco Bulgarelli, does a beautiful job with the cinematography, a task no doubt made more nerve-wracking by the fact that he was shooting the last of a discontinued Kodak black & white film stock, leaving no margin for error in terms of retakes or waste. Every foot shot was one less foot of a finite amount of stock available.
The Art Department and effects team also deserve kudos for the retro practical effects, most of which were done in-camera. Ironically, it's the old school effects that give the film some of its best production values.
Overall, the film is a mixed bag. As is so often the case with movies like this, it's too much style, not enough substance, weakened by an uneven and unfocused script. However, I tip my hat to Paul Bunnell and all involved for persevering through ten years of setbacks to finish the film. Given that circumstance, it's amazing the movie is as good as it is.
Thus, I have to count myself a fan of the movie, and eagerly await Bunnell's next effort, "Rocket Girl."
While billed as a parody of 1950s low budget sci-fi and exploitation films, I think the filmmakers missed the mark, failing to understand the conventions of those genres that, to a modern viewer, make them campy and funny (e.g., ridiculously naive pseudo-science, archaic technology, outdated sexist, racist social mores, and the laughably unsophisticated pop culture of those times).
The filmmakers also failed to understand that even a parody requires solid story structure and fully realized characters with clear desires (and clear obstacles to achieving those desires). The result is muddled and meandering, with no story spine to pull the audience through from beginning to end. Since too little is set up for the audience to anticipate, the ending can't help but be an unsatisfying anti-climax.
That said, the music and musical numbers are quite good (the sound design top rate); though I would have liked the musical numbers better if they had also driven the story forward, or at least done more to flesh out the characters. As is often the problem with musical numbers in movies, forward story movement grinds to a halt, and we learn little or nothing new about the characters.
The film features several strong performances, particularly from De Anna Joy Brooks as Bliss, Kate Maberly as Dandi Conners, and Les Williams as Chip -- a feat particularly notable since the film was made in bits and pieces over the course of more than ten years. (Kevin McCarthy also turns in a good performance, his last film, despite being 90 years old.)
Will Keenan seems miscast as the titular lead. While he had the attitude and the moves, he lacked the gravitas (and strong singing voice) to carry the film. It's clear that he has no idea why Johnny X does what he does, nor carries any history of his alleged bad deeds. (This is also a failing of the script, which doesn't make the case that Johnny is as powerful as we are told.)
Creed Bratton works well as washed up pop rock sensation Mickey O'Flynn, but is undermined by the weak script, which fails to provide us even a glimmer of insight into why O'Flynn would be so loved and revered.
Reggie Bannister does a credible job as ruthless, self-serving promoter, King Clayton, but he is often undercut by the actress who plays his girlfriend. (Apologies, but I can't seem to positively identify the correct actress here on IMDb.) Though her character is a grotesque cliché, she brings a lot of energy to the role, hitting exactly the right tone -- overbearing, even annoying, yet still funny and, therefore, endearing.
As is the case with most celebrity cameos in indie films, Paul Williams isn't on screen long enough to make much of an impression as Cousin Quilty. Though there are indications that there is history between he and other characters in the story, the writing and direction of Williams' character does too little to bring that history to life.
Director of Photography, Francisco Bulgarelli, does a beautiful job with the cinematography, a task no doubt made more nerve-wracking by the fact that he was shooting the last of a discontinued Kodak black & white film stock, leaving no margin for error in terms of retakes or waste. Every foot shot was one less foot of a finite amount of stock available.
The Art Department and effects team also deserve kudos for the retro practical effects, most of which were done in-camera. Ironically, it's the old school effects that give the film some of its best production values.
Overall, the film is a mixed bag. As is so often the case with movies like this, it's too much style, not enough substance, weakened by an uneven and unfocused script. However, I tip my hat to Paul Bunnell and all involved for persevering through ten years of setbacks to finish the film. Given that circumstance, it's amazing the movie is as good as it is.
Thus, I have to count myself a fan of the movie, and eagerly await Bunnell's next effort, "Rocket Girl."