The Transcendents

You can't do movies anymore like this. (not that this movie is not good) but you can't expect people to fall into a trance and get lost in a film. This is a super moody movie that you really need to not have other distractions when watching. I had my daughter crying, had to turn it off -- turned it back on, couldn't remember what happened. My husband starts yapping about a sports game -- had to turn it off. Turn it back on and can't remember what I was watching. It's not that people don't have patience anymore, but they are simply too distracted by other people to focus. I'm sure this movie is great in a nice air conditioned dark movie theater, but that's not how I saw the movie. And that's not how most people will see the movie.

Admittedly, I'm an editor so I pay attention to editing more than most people and most people don't pay attention to it at all -- nor should they. But the editing here has a very specific style that impressed me -- (a lot of this has to do with the DP and Director's style of shooting).

First -- In the scenes that take place in the modern day, there's a Bam/Bam "Smash Cut" style. Pretty much seems as though it represents the main character's anger and lack of focus on a revenge journey.

Second -- In the past, the scenes are clearly done with a heavily roaming handheld technique. I saw an earlier review that says this has to do with memory. It COULD. But I took it as a send off to "rock documentaries". In the past you see the band (The Transcendents) being formed and much like other rock docs, the camera crew is just lucky to be in the rooms and happy to grab whatever shot they could.

Finally -- There's these LOOOOOONG dolly shots that move into character's brains without any cutting. The characters go from being unreliable narrators to truth tellers before our very eyes. Its fascinating.

These three styles in editing, amongst many others in other departments make this film incredibly unsettling and a unique way of telling a haunting story of the past and present colliding.

The critic reviews point to this being Lynchian or even a horror film. It's not. It's a drifter film with the actor Rob Franco as the drifter. He gives a very weird performance that reminded me of 80s Rourke; in particular Rourke in the film Homeboy. Franco is dangerous and combustible. And he holds the film together in the second act - which is the only somewhat problematic act in the film. It still works, but compared to the high stakes absurdity of the first act and the beautiful sonata that is the third act, the second act underwhelms a bit. But that's only a minor quibble. The rest of the cast is terrific and the score is brilliant. I wish I could buy he score.

I rented this from the local library and don't know why it was in the "rock doc" section. It's not a documentary at all. There's not even any of the fictional band's music in it. I was actually looking for the new Go Go's documentary. I guess the fact that there wasn't the band's music in it was smart, because the score is lush with an old school western vibe. And since the plot is a revenge plot, I see why the choice of western was made.

Anyway, the movie is actually very good. It's creepy and surreal. Even the casting was surreal. Like outside of Valentine from the Go Go's, I feel like I saw every other actor in a different strange indie or something. Sure enough, after I looked them up, they were in other strange films that i'd seen. Good casting.

This movie is a touching story about broken people. It really doesn't fit inside any one genre. It's funny but tragic. Exploitative yet sensitive. Trashy and artful. Grainy and colorful. The characters are ghosts and full-blooded human beings.

A lot of it feels familiar. But I can't place where it's borrowing from. At the risk of sounding ridiculous, it's almost like if Roger Corman made Days of Heaven. Or somehow if Malick made a Corman script.

All that to say: I'm glad I rented it. (I think. I really don't know what I saw)