Series 7

These days it is difficult to satirize reality TV and reality video because material like THE LITTLEST GROOM, THE AMAZING RACE, BOOT CAMP, SURVIVOR and BUMFIGHTS already exist.

SERIES 7: THE CONTENDERS is an ultra-efficient rendering of the imagined next step in reality programming in which "contenders" must kill in order to survive.

To their credit, the filmmakers never step outside the game itself.

Clever graphics, voice-overs and reality-style camera-work achieve a high level of illusion. The "contenders" themselves are well characterized and we get to understand the complexities that drive them.

As entertainment SERIES 7 is seductive and exciting. As satire it is sharp and black as pitch.

Series 7: The Contenders, is a very twisted black comedy about six contestants on a reality show. The premise of the reality show is that the contestants are given weapons and have to murder each other in order to win. The contestants include a mentally insane man living in a trailer park, a cancer patient, a religious nurse, a high school teenager, a middle-aged father, and (the reigning champion) a pregnant woman. The film is structured as a marathon showing and is played as a series of episodes strung together each following these contestants. The film depicts these people as normal and everyday people who are forced into this terrible situation against their will, but the real meat of the film comes in when we get to learn about the histories of some of these characters. That's the point of the film where the film grows out of being a spoof of reality shows and begins to manifest into a social commentary. The high school teenager has parents who encourage her every step of the way and help her suit up for the murders that she is about to commit. The pregnant woman has been disowned by her own mother due to past incidents. The middle-aged parent has his own troubles at home. There's a lot more going on here than at first glance. This is an angry and dark satire that really challenges some of the concepts of reality and the satire of itself.

There's a lot here that I truly admire. For starters, the performances. They are pretty awful in a way that, at times, seems cringe-worthy. However, when you take a look at reality television shows such as Survivor and The Real World, the acting in those is even worse. It's supposed to be reality, yet the people in them are not believable. That's what makes reality television such a joke, and so in a roundabout way of saying things the performances here are good because the actors are good at capturing the melodramatic mannerisms of the contestants at large. I particularly enjoyed the performance of Brooke Smith as the pregnant woman. She is ridiculously cold and cruel and monstrous, and you can really feel the bitterness that she feels. Yet her mannerisms are so sarcastic and almost pathetic. The same goes for the rest of the cast, but Smith has a visual presence to her that I've always admired. She's a terrific actress. Nobody can forget her performance as the kidnapped victim in The Silence of the Lambs. I've seen some of her television work as well and she almost always sticks out in a good way. Merritt Wever and Glenn Fitzgerald do an equally good job as the teenage girl and the cancer patient, the former being the most likable person in the cast and the latter having all of the best lines and being the most interesting of all the characters.

My favorite thing about this film, however, has to be the momentum of it. Series 7: The Contenders is almost never boring and there's always something going on. It's virtually impossible to stop watching once you've started, even if you pick up in the middle of it. I think this was done intentionally. I think a lot of televisions shows have that same kind of watchability factor, and what I appreciated the most about this film is that there were no commercials that cut into the action. The satire of the film itself is simple and clever, but even if you put all that aside, you still have one hell of a captivating film. Putting the climax of the film aside, you do get to care about almost all these characters and you don't particularly want to see any of them die really.

If you want my personal opinion on the film, I cannot say that I like it too much. I don't personally find the film itself to be very funny. I like dark humor, but I thought that this was too sick, really, to be funny. I also really don't like the ending. It felt like I was being beaten over the head by the satire. I also find that the film itself isn't exactly re-watchable. Once you know how it all ends, you really don't have any desire to ever really sit down and watch it. There are films out there that are sick and that you never really WANT to watch again, but at the same time you feel you should and can't help but feel the need to sit through it, but Series 7: The Contenders plays all of it's cards in one sitting and as a result you really don't feel any desire to absorb any of it. It's more the type of film that you just appreciate rather than like and enjoy. I can imagine a lot of horror fan and readers of Fangoria would love it to pieces or at least get a huge kick out of watching it. In my opinion, as brilliant and as clever as it is, I definitely wouldn't advise mainstream moviegoers to watch this. I thought it was a brilliantly directed film in a lot of ways, and the satire was effective, but I can't exactly recommend it. I'm glad I saw it though.

This movie is for people who like their comedies so black that the light from the screen can barely escape the film's gravitational pull.

Fortunately, I'm one of those people, and I found the film to be hilarious beyond my wildest dreams. The main thing that makes the movie's premise work is that the movie takes itself seriously. It's similar to Christopher Guest's mockumentary style in that the people in the movie are for the most part unaware of their own ridiculousness. Now, that being said the acting in the movie is excellent. There is very nice character development of the main characters, and Brooke Smith's character has to be the most appealing and interesting assassin I've seen on screen ever. Most importantly, the movie is presented exactly like a reality show which eventually draws the viewer into suspending their disbelief and accepting the ludicrous world these characters inhabit. Even the bad parts of reality shows are accurate, the narrator's overly dramatic voice, the cheesy melodramatic music to inject some false drama, the corny stock footage of the flying bird. It's all so accurate it's wickedly funny. It even parodies cop shows during a car chase. Finally, the icing on the cake is that as ridiculous as everything is, you realize that American society isn't too far off from this extreme today, and that gives the film the added bite of seriousness that propels it above being simply entertaining and makes it a true satire, This film is even more impressive considering the fact that the idea was conceived 5 years ago before the reality craze began.

I encourage people to watch Series 7 once, it's destined to become a cult classic. The last line of the movie is also laugh-out-loud funny.

This is the ultimate show of its kind - six people play a 'Survivor' game, but this is real survival - they will kill one another until only one survives. They are selected by chance, we have no clue why, and there seems to be no price. The only thing the winner earns is getting enrolled in another mortal round.

The formula works pretty well for the first half. Good, fast filming, credible acting, interesting characters. The problem is that by the second half the needed development of the characters does not happen, and for lack of anything else the script falls into previsible melodrama. It's a miss, but still the film is worth viewing, and it really says something about our sensation thirsty society.

`Reality TV' is founded on P T Barnum's famous dictum `Nobody went broke underestimating public taste.' `Series 7 – The Contenders' simply takes the idea to its extreme – a program where contestants hunt each other down, not in the wild, but in suburbia, the survivor being declared the winner (oddly, the only prize seems to be survival).

Obviously this is satire, and there are some genuinely funny moments, such as the parents of a teenage contestant urging their daughter on, as, armed with a rifle, she attempts to take care of an elderly opponent on a golf course. When the same girl, taking the gun into a shopping mall, is challenged by a security man, she says `its all right, I'm from The Contenders' and he lets her pass. The two main characters, Dawn (Brooke Smith) the champion from the last series and Jeffery (Glenn Fitzgerald), an opponent and former boyfriend, are sympathetically drawn. Dawn is pretty aggressive, but also eight months pregnant, and filled with emotion on returning to her home town. Jeffery, an artist, is suffering from testicular cancer, and though cared for by his devoted wife, wants to die. Needless to say, it becomes pretty hard for Dawn to pull the trigger on Jeffery when she gets the chance. The other contestants are not so sympathetically drawn, but they are by no means monsters, even if Connie the ER nurse with the deadly needle, goes to confession before stepping out to kill someone.

I formed the distinct impression that the contestants were not actually volunteers, being selected at random from something like the list of social security numbers. If that were the case, and I was selected, my first priority would be to wipe out the producers, not my fellow contestants. The Gladiators of ancient Rome were not volunteers of course, and perhaps that's the parallel the producers of the film seek to draw, or perhaps with the military draft for Vietnam.

Occasionally, reality TV makes good television, as in the case of the Australian `RPA' about the day to day workings of a large Sydney hospital. But the contrived ones, like `Survivor', `Boot Camp' and even the quiz show `The Weakest Link' depend on (vicarious) fear and humilation, not to mention voyeurism for their entertainment value. Freak shows such as `Springer' add loathing to the mix.

The director here (Daniel Minehan) does a good job of demonstrating just how nasty the premises are behind these sorts of shows but don't really sheet home the blame. I don't mind seeing a few of the high and mighty humiliated in public but I do object to ordinary mostly decent people being chewed up for entertainment purposes. Dawn and Jeffery deserve our sympathy, not our revulsion, a point the film makes reasonably well. It also illustrates that P T Barnum's dictum has lost none of its force.