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I have seen WTKAA perhaps six times and each time I come away from the film dazzled. The choreography in this short film is every bit as good as CHICAGO and the music is better. Bear McCreary's music, from beginning to end, soars. Each scene takes its cue for mood and color from the music, from the sweet solos to the show-stopping ensembles; the whole film is textured with different rhythms and tempos, flawlessly edited. The fifty piece orchestra who performed this music is to be applauded along with the conductor, the orchestrator, and the singers. Amy Keys' voice, when she reaches up and hits that Mozartian Queen of the Night note will raise the hair at the back of your neck. She is stunning. I could listen to Amy Keys sing the phone book. The backup vocals blend beautifully, but remain distinct.

At the LA premiere of this film, people were jumping out of their seats and applauding right in the middle of the film. By the ending credits, the audience was all but jumping out of their skins. If you want a CD of music that will percolate your whole day, get the music from WTKAA. The young talented artists, actors, dancers, musicians, costumers, editors, the whole collective enterprise it takes to make a movie, these people are to be congratulated along with Jon Chu. WTKAA will knock you out.

This movie is fabulous. It builds you up and in the very end, it knocks you down like bowling pins! I would have to say that the best thing about this movie though, is the score. It has a powerful and driving backbone to every track and it fits in with everything that the movie is trying to convey. And just for the added spice the composer through in an original arrangement of Cheek to cheek. Knock out movie, and knock out score. I give a big thumbs up to all involved. -Brendan

This short film displays the storyteller's art to perfection. Not a wasted frame in the entire picture, not a wasted gesture, nor a bit of flabby dialog. Told in backflash, the story is both tense and touching, and at the conclusion, tremendously funny. The central actors give fine performances and the relationship developed between the two hitmen allows them both sympathetic rapport with the audience. (This is no mean feat. In fact, the movie is based on the notion of a haunted hitman.) The music deserves special praise. Elegant, evocative, eerie, the music unifies the tensions, highlights the humor, enriches the narrative. Arresting melodies and unique orchestrations are woven into the fabric of the picture. The use of Irving Berlin's old standard to evoke a more innocent past was inspired. From its opening scene in the church, A GOOD LIE is clever, ironic and engaging; the pace never falters and while the subject matter may seem (on the face of it) grim, the film is so polished and stylish you are drawn into its spell. I look forward to feature films from this director and his team. Bravo.