Bellflower

Bellflower is a very good low budget film. Evan Godell wrote, directed and stars as Woodrow in this movie. The acting was a bit poor but the screenplay was excellent. This is what I would use as an example of a movie that has an excellent plot and horrible acting but completely pulls it off. Much like Medusa, the acting is hard to look at during some parts of the film but when looking at the film you see something that is incredibly beautiful that will ultimately end up harming you in some way. Bellflower is extremely dark and will get under your skin for days. From start to finish Bellflower is a visual work of art. If the acting were better, I could see this being one of the best dark films I have ever seen. Unfortunately, the acting is so bad that it is very tough to get past. This has to be one of the best low budget efforts I have ever seen and should be seen by any aspiring director. Evan Glodell's Medusa ultimately becomes the star of this film because the vehicle provides the best performance and it by far one of the most amazing works of art on wheels. Who doesn't love a car with a flame thrower for exhaust pipes?!

"Bellflower" opens and continues with guys being guys. They have no regard to how they live, they just get drunk and build flame-throwers. They are similar, I'm assuming, to how writer, director and star Evan Glodell behaves with his male friends. If it can blow-up, Aiden and Woodrow will find a way to make it blow-up. And then Woodrow meets a girl and falls in love.

The romance element is played out quickly. Because, as I said, the film is about guys being guys. It's also about girls being psychotic. It's hard to stay in love with that explosive mix going on. Seeing as they will throw gasoline on any fire that's burning, the flames just leap up higher and engulf everyone and everything.

Not being a guy myself, I didn't connect with Aiden and Woodrow in the beginning, although I certainly have met guys like them. The girls, Milly and Courtney, are way more destructive than any girls will admit to being. The characters, the acting, and the dialogue are the weaker elements to the film, but the story that they insist they are telling is just so intriguing you won't want to turn this off.

As the poster suggests, and their past-times, "Bellflower" gets very violent. But the interesting thing is that it's not just mindless violence. The characters are just so calamitous, that they have their reasons for everything that burns, explodes, crashes or dies. It is dark and devastating, and unfortunately, a little more empty than it should have been.

My friend and I took a leap of faith and rented this movie with no prior knowledge other than that it got relatively good reviews (ebert gave it 3 out of 4). The summary on the back seemed interested: two guys trying to make a flamethrower. Can't go wrong with that, right? Because this movie isn't really worth a deep analysis I'm going to explain my disappointment in bullet points. -What I was expecting: An interesting, off the beaten path indie film containing flamethrowers -What I got: A shitty version of Garden State -Why the film falls flat: poor acting, bad writing, no direction, low budget, and horrible characters

It's hard to describe my hate for this movie. It's like listening to a relatively good band that has an extremely pretentious and untalented singer. It's not so bad that it's laughable, it's just bad.

Greetings again from the darkness. This film is for all you kids out there who fantasize of a post-apocalyptic world in which you rule thanks to your killer muscle cars, hand-crafted flame throwers and total lack of dependence on society. You also treat bourbon as a major food group. If this describes you, please stay away from me ... and rush out to see this Sundance Festival favorite.

In the old days of radio, college stations would play what were known as "deep cuts". These songs were treats for the biggest fans of that artist and allowed everyone else to get a taste of a song that wasn't created to be a hit single. Bellflower is the movie equivalent of a deep cut ... filmed on a (broken) shoestring budget with driving force Evan Glodell as writer, director and lead actor. Glodell has a real feel for visual statements but I so hope his outlook on life is much brighter than the film projects.

Woodrow (Glodell) and Aiden (Tyler Dawson) are best friends and transplants to L.A. from Wisconsin. They come across as having ceased psychologically maturing at about age 15, though they are in their 20's now. Their whole world is tied to this poor neighborhood where they waste each day by boozing incessantly and planning their next flame thrower or souped-up muscle car. This is done with the intention of protecting them should the world turn into the deserted landscape seen in the Mad Max movies, which they admit to having seen way too many times.

As destructive plans are apt to do, theirs hits a speed bump when Woodrow meets Milly (Jessie Wiseman) during a cricket eating contest. What a great story to tell your grandkids! Anyway, Milly and Woodrow seem to be soul mates initially, but then things get complicated. Aiden is a very loyal friend and quite charming when he sets his mind to it. He stands by his friend through some staggeringly bad luck.

This isn't a movie that necessarily follows a traditional story arc. Heck, it begins by showing a scattershot montage of things to come (we assume) and none of it is particularly cheery. The ending is such that it's a web of "maybe" endings that allow us to determine just where the visions end and reality takes over.

It's no mystery why critics were so enamored with this one at Sundance. At times it plays like a student film project for a young Tarantino. Or maybe an early Kevin Smith movie, if he were ever addicted to explosions. That is meant as a compliment. Continuity is lacking on purpose and the rawness of the production comes across quite clearly and with power. Mr. Glodell will undoubtedly be given a budget larger than a credit card next time to see just what he is capable of. I for one, will be rooting for him ... just keep him away from me please!

Bellflower is an interesting film because even in it's flaws it kind of speaks to the kind of film that it is. Unfortunately for me though, that doesn't mean crap when the flaws are so blatant and intrusive. The film starts off interestingly, a really in-your-face turn back the clock montage that takes us to the beginning of our characters, two wild twenty-something youths who spend their free time (which it seems is all they have for some untold reason) preparing for their Mad Max vision of the end of the world. In their mind it's perfectly normal to spend their time building flamethrowers and tricking out muscle cars, which is so dumb and idiotic and an absolute perfect depiction of men at this time in their life.

The first hour takes a relatively standard approach to following these guys, but despite some pretty awful amateur performances and awkwardly obvious pieces of dialogue, it had a certain charm for me. Writer/director/star Evan Glodell gives an aesthetic feeling that was off-putting at first -- the focus falls off every so often, flecks off dirt come up into the lens -- once I settled into it I really began to embrace the tone he was going for. However once the film started to really get a rhythm going it decided to awkwardly jump forward a period of time (you can tell because the main character has a beard now!) it really caves in on itself.

It was going along smoothly but then decided to move the plot forward into more serious territory and then none of it worked anymore. Those bad performances became worse as the scenes progressed further and further into laughably horrendous melodrama with some of the most obvious and artificial character progressions and dialogue stretches I've seen. The film spirals down and down until it gets to it's last two chunks where I was just hoping they would clip the wings off and stop tarnishing the promise it once showed. There's a disastrous fifteen-minute sequence that felt absolutely worthless even before we find out that it actually is worthless, followed by the final act which just nonsensically rambles on for what seems like an eternity.

Ultimately, it felt like this was a premise that would have worked great as a short feature, but in stretching it out to something full-length Glodell really destroyed everything he had going for him. Still, despite ultimately being a failure, I think Glodell shows some promise here as a filmmaker and I'll be curious to see what he does next.