The Gun (From 6 to 7:30 p.m.)

In my opinion "The Gun From 6 to 7:30 p.m." is a really great movie, technically and artistically professional (I agree with Cyb).

I have been affected from the beginning for the whole duration: utmost visual realistic and truthful story.

Audience is drawing into a real life (like a documentary). It's a true people' life-story, not fiction, consistently engaging and intriguing because of the real-time: talented independent filmmakers taste us with the ordinary reality of what is really going on, and it's make us ponder about the cost of human's life... The Gun is like a delay-action bomb - very outspoken, philosophical, and lamentable movie. If you are interested in the type of art-style, slowly-driven, and very professional film - see The Gun.

krustar@yahoo.com (KK, Actress/Producer)

The Gun is a compelling and thought-provoking thriller that captured my attention from the first scene. An amazing contribution to the Montreal Film Festival, each scene of the film was shot without any cuts. What an ingenious and inventive idea in filmaking! This revolutionary and novel approach to cinematography makes a viewer truly enter the film and revel in the real-time feel.

Throughout the film there were plenty of plot twists, which delivered a powerful message regarding guns in America.

This movie follows a gun, which in the opening scene of the movie, was dropped on the side of a dusty, deserted road. Soon picked up by a biker, the Gun finds itself in a myriad of situations. Follow the gun from 6:30 to 7:30 and you will find yourself caught in the midst of an exceptional, exciting film.

Vladimir Alenikov's The Gun is a brilliant fiction take on the necessary evils and possibly deadly consequences of gun "ownership". Shot in 15 simple real-time takes, it quietly follows the gun through various people's hands over the course of 1 1/2 hours, from 6 pm to 7:30 pm. It's like a "road movie" for a pistol which is found by a biker and pawned to the next slime bucket and misplaced by yet another directionless loser. Critics at the Montreal film festival disliked the "losers" element and found it difficult to connect to the cold, often listless characters such as the typical musician who can be summed up by the old joke: what do you call a musician without a girlfriend? Homeless. Characters both related and unrelated to each other are as intentionally disparate at the disengaged family members in Pasolini's Teorama. This brilliant fiction tale borders on the anti-gun sentiments in the Oscar-winning doc, Bowling for Columbine, yet its one female character (the protagonist's wife, Anna) has a stalker which makes one realize that guns are often a necessary evil in America, despite Michael Moore's convincing diatribe. The story unspools as slowly as Teorama which would be a detractor for action-seekers and a plus for those inclined to a deeper understanding of guns in America. And there is an incredibly erotic banana-eating scene that is worth the wait even you're an action buff. Terrific U.S. outing for Russian exile, writer, editor and director, Vladimir Alenikov. -- suze (former Variety film critic and current communications consultant)

I saw the film at MFF. It's pure art-house. A vision of one man. You either love it or hate. But if you stick with it, the film nonchalantly creeps up on you with its captivating, brilliant camera-work and non-intrusive, yet powerful message. It's an important film to see in this day and age and it makes a perfect sense why our less-violent northern neighbors chose to screen this piece of art IN COMPETITION. The film is original and unique, which makes it worth checking it out. The filmmaker has a strong voice and opinion and he's not afraid to show it. Last summer I was watching at least 2,3 movies a week in theaters and after a few weeks all of them started to lose identity and became to blend together. They're all done in the same Hollywood fashion. The only difference is the plot, which sometimes, is not all that different at all. Out of my 2 months long movie run only 1 or 2 films stood out and that's it! Most of them I don't remember. "The Gun" however, I'll remember for a long time. It's food for thought. It's provoking and intelligent. We need more diversity, more opinions and more films like this.

The Gun takes Vladimir Alenikov's vision into the shadowy world of obsession, and no one underscores the price of obsession better than the talented Jack Forbes, as Victor. Fraught with good intentions and overwhelmed by the relentless pace of urban living, Victor clamors for a solution, only to find that his problems are just beginning. Jack Forbes' performance is so subtle, compelling and real, combined with the steady-cam no-cuts filming technique, we really feel like we're living out the 90 minutes with him. This should be a break-away film for Jack. Tim Colceri plays AJ, an energetic strip bar owner, and the chemistry between AJ and Victor is both entertaining and heart wrenching. Vladimir's direction of this foray into the minds of everyday people is seamless, inspired and innovative. Cinematographer Kirill Davidoff, through the steadicam of Chris George, is remarkable as it winds through the story in continuous no-cut shots of unprecedented lenght and complexity, all the while in perfect focus and lighting. Jeremiah Hasseman is interesting in the role of Gene, the unruly and unemployed transient, and as a newcomer holds his own in this production. Tamara Tara, as Anna, Victor's hapless wife, shows her range from disdain to distraught to desperate, finally landing in the sypathetic laps of the audience. Val Dillman is delightful as Christie, the alluring and endearing stripper who seduces Victor and tosses Gene out on his ear. And Robert Harrell III is convincing as Lamar, the street-person thief. The Gun is a ground-breaking film for all involved, and should be a winner.