The Immaculate Conception of Little Dizzle

This arthouse film left me speechless, honestly. I really appreciated all of the visual effects, and was already impressed with the film just from the title sequence montage...I thought it was beautiful, and couldn't wait to see what else was in store. For the most part, this movie is a narrative: you follow Dory along his journey of being a janitor and all the eccentric characters that come with it but don't get me wrong, it's not a boring narrative. There's countless really well done visual effects added throughout the movie that really just give it so much more character, alongside of course the cast of the supporting characters themselves that really take up lives of their own and leave you interested the whole time. I saw people mentioning that the acting fell short, but I've got to disagree and say that I found each character emitting quite a sense of themselves - enough for them to be quite believable and for you, the audience member, to not disregard them. Since to me, they all add to the charm of this movie. I thought that Dory shined, but I was most intrigued by OC and his persona. Anyways, because the eccentricities of all of the characters come across so clearly in their portrayal, the rather monotonous narrative of janitor-life is anything but. That being said the twist that comes at some point is really where it will either hook you in, or lose you completely - it just depends on you. I find this film hard to pick apart or judge because there's actually a lot of meanings and subtleties throughout that could actually lead you to getting meaning from it that I wouldn't even know how to mention. Much like Eraserhead, it's not just some bizarre arthouse movie, there's something deeper that they're hinting at - it's up to you to find it and interpret it how you will.

There is a great deal to admire in this film, and a little to forgive. First, you have to remember that this is not your grandfather's film, or your Aunt Stacy's. It's not set up in that classical Hollywood vein where we in the audience all agree beforehand that, despite the clear gap between our real lives and what we will see on the screen, we are not actually watching a fictional construction. No, this film acknowledges from the start that it is all about a message that it needs to deliver. It's a more modern piece, and although there are moments that make me think of Network, the overall mood is perhaps more the farcical landscape of Dr. Strangelove.

As for the forgiveness that we must show, it's mostly towards the casting. It may be true that most of the actors are not polished gems - the lead, Marshall Allman is perfectly adequate but that is not the nicest thing one could say - but there's a good deal of craft in here, particularly from Vince Vieluf, and some fair turns,including those of Tania Raymonde and Richard Lefebvre.

I'm amazed to find that David Russo has not yet had a break-out film, either as a writer or director. This film is full of bright ideas, clever characterization and exceptional images. It's a very good example of story-telling, and it gets a ton out of what must have been limited production resources. I liked it a great deal, and I have no doubt whatsoever that there are a large number of people out there who would find more here to endorse than in a bucketful of more commercial fare. Yes, it's a festivally, arthousey kind of film, but that's because it has something to say and a new-ish way of saying it. Give it the time and the attention, and it will reward you at above minimum-wage rates.

I wish I could give more points to this movie for comedy. It doesn't have the script for that, and thus not the timing. It's a pity. It is fun however, and there are many, many film techniques here, fast and snappy, with bursts of colourful imaginative animation (and the odd special effect), that make this movie part of a welcome indie genre, where you might include Me and Earl and The Dying Girl, for example. The story is wild. That was entertaining, even though as a consequence of that there were many 'vertigo' sequences, and I thought that was a tad overdone. Interesting alternative soundtrack was good too. I think they needed to use better cameras for depth of colour, and minimise any scenes that laboured into the irritating (such as the vertigo's and some of the more in-your-face behaviours). That's my opinion. I think this is the sort of movie that younger people will like being about younger people and their struggles, basically, at heart. It'll be probably controversial as well, I'd imagine.

I really liked this, but there are a few glitches that could bother people.

First, we are to believe that Dory quit his job, burned his bridges, and... is a janitor now? This sort of could be an "Easy Rider" moment, but instead we shift from sharp social commentary into a party-like janitor SF film. And then, outside of some quirky "religious" details, we end up knowing absolutely nothing about Dory's personal homelife, etc. It's one thing to overlook the other characters, but Dory is the lead! Come on!

From there, the quirky SF janitor party movie is light and fun. Well done, despite the excessive visual effects.

In the end, I definitely enjoyed it. The characters were individual enough, and the acting decent. It's just a shame they didn't dig deeper into the social commentary; it's there for sure, but never feels fully formed or defined.

I attended a screening of "The Immaculate Conception of Little Dizzle" at the 2009 SXSW Film Festival. It's rare to find a film that's truly original while remaining accessible. It might be an incredible work of art but if it's not enjoyable nobody will see it outside the festival circuit anyway, so what's the point? There are certainly enough self-indulgent excesses from first-time directors out there.

On the other hand, entertainment usually dictates convention. That's what Hollywood is good at. So to be able to marry the two, to create a film that is both unique as well as satisfying on a mass audience level, is quite daunting. "The Immaculate Conception of Little Dizzle" meets that challenge.

Dory (Marshall Allman) is lost -- spiritually, financially, and emotionally. He becomes a seeker -- in search of a religion he can believe in, a job with which he can survive, and, perhaps, someone (or something) to love. After trashing the workplace where his empty, meaningless days consist of entering numbers in columns, he joins a ragtag group of commercial janitors. They clean office buildings at night with the passion (and look) of the latest punk rock band in their nightly sold out gig. Unexpected discoveries follow, and the madness begins.

Writer/director David Russo's first feature owes much of its look to slick photography from veteran cinematographer Neil Holcomb and the steady hand of Billy McMillin in the editing room. The visuals and sound are consistent with the puzzling mystery of the plot and frantic actions of the characters, with mind-blowing effects and Hitchcockian camera angles. Subjective POV shots allow the actors to address the camera, as if the viewer might be able to shout advice on how to deal with the predicament in which they find themselves.

Great films need to combine four elements: a unique and compelling story, a talented Director of Photography, an editor who can carry out the vision of the director, and a cast up to the task of bringing the characters to life. "The Immaculate Conception of Little Dizzle" features Marshall Allman ("Prison Break"), Natasha Lyonne ("American Pie"), Tania Raymonde ("Lost, Chasing 3000"), Tygh Runyan ("Normal"), and Vince Vieluf ("Epic Movie").

It's always hard to single anyone out in a brilliant ensemble cast but Vieluf is hilarious as Dory's maniacally hyperactive mentor and sets the tone for the film. Raymonde and Runyan, as the combustible Ethyl and Methyl, have appropriately explosive on screen chemistry. Lyonne's Tracy has the face of an angel and a personality struggling to live up to that image. Most of all, though, this is Allman's film. Audiences may recognize him from his multitude of television appearances -- he's only done a handful of indie features -- but he carries this movie like a seasoned leading man. With childlike innocence and naiveté, Allman's youthful face and demeanor bring just the right amount of vulnerability to the fragile Dory and place him squarely in the realm of today's most talented 20-something actors.

"The Immaculate Conception of Little Dizzle" has a fascinating storyline that mixes drama and comedy, as do most top quality indies. But it almost manages to create a new genre -- one part stoner comedy, one part political thriller, one part horror and many parts that ultimately result in a cinematic mindf*ck.