Title: Bellflower
Director: Evan Glodell
Starring: Evan Glodel, Tyler Dawson, Jessie Wiseman, Rebekah Brandes, Vincent Grashaw
When a filmmaker attempts to do something different mechanically, the majority of moviegoers will probably never give it a fair shake. At times these said moviegoers are justified, for just being different from the norm, doesn’t necessarily translate to solid, ground-breaking filmmaking. “Bellflower” is one of those flicks that execute an approach that isn’t all that smooth; in fact, it can be uncomfortable. What keeps this 106 minute film engaging though, is writer/director and co-star Evan Glodell used the proper story to run in stereo with his artistic shooting approach. Most of the time.
Aiden (Tyler Dawson) and Woodrow (Evan Glodell) are two close-knit friends that travel on the same alternative wavelength. Aiden is the outgoing one of the team as the shy Woodrow mainly keeps to himself when placed in social settings. The duo spends all their time developing gear in the vein of the Mad Max films, just in case the apocalypse ever takes place. This entails crafting a flamethrower and finding a ride that resembles the iconic car from the Mel Gibson led franchise from the 80s. What’s funny is that their post-apocalyptic gang, Medusa, has only two members: Them.
One night at a bar, Aiden wants to get his bashful partner some action with a lady, so they start interacting with a group of girls. Milly (Jessie Wiseman) has a personality comparable to Aiden but seems to take a liking to the quiet & nervous Woodrow; while her friend Courtney (Rebekah Brandes) pairs off with the charismatic Aiden.
Woodrow and Milly become an item as do Aiden and Courtney. Milly is always up for anything and this behavior leads Woodrow to come out of his shell. All is going well, except that Milly’s roommate Mike (Vincent Grashaw) is kind of awkwardly in the picture. This new group of lower class friends are getting along fairly well until certain loyalties are tested, leading to violent repercussions within the young, broke down clique.
In the effort not to give too much away, the script actually disguises the twist and turns the characters take. Who you think is the protagonist and/or antagonist is turned upside-down as this choppy tale becomes unhinged. Despite the choppy delivery, you will be watch with a sense of intrigue of where all the characters are headed in this predominantly interpersonal tale.
Stated earlier was how Glodell uses an unorthodox cinematography to navigate this story. It’s almost a documentary-style meets a horror movie from the 70s format. The look falls somewhere between those two spectrums and though it’s noticeable, it’s tough to say if this helped or hampered the experience. Personally, it was not bothersome, yet this technique really didn’t enhance any pivotal scenes. But it does match up with the “anything goes/anything can happen” tone this flick embraces.
People are partying, dying, reflecting on life, and of course dealing with what we’ll call white-trash drama. Everything is progressing to where you feel and want this script to go. When the anticipated confrontation happens, this is where the wheels fall off. The movie mechanics and story lose its composure at the three quarter mark. Flashbacks and more experimental camera work are shoved down your throat. Scenes that tease something gruesome are cut short,; the production value drops (probably due to budget constraints); and the only element that keeps one tuned in is the attractive girls going topless along with a couple of brief violent outbursts.
This isn’t a deathblow to the movie as a whole, but it does drag this to an average level. Although the audience will be invested in the characters, the over-thinking execution during the last 20-30 minutes will have your attention waning.
Overall, Bellflower is a unique watch that catches your attention for a while. The characters’ personas that are depicted here are a breath of fresh air, even though the story is a bit recycled. Knowing that, this looks like something a young Quentin Tarantino would conjure up in his mind. Just a shame this Shakespearean-like tragedy couldn’t finish strong.
Technical: C+
Story: C
Acting: C+
Overall: C+
Review by Joe Belcastro
