Worm

This is a crime thriller unlike any other picture that comes to mind. Film-maker Andrew Bowser can be relied upon to craft original features that try something a little different, like them or not. With the distinct way this is shot, 'Worm' definitely stands out in a crowd.

Having accordingly been filmed in and around Guthrie, Oklahoma, 'Worm' absolutely has the look and feel of a story playing out in Small Town, USA. Disparate old buildings, abandoned structures, knucklehead cops, sleepy streets, and dusty roads round out the setting. There's a strong sense in the dialogue and characterizations that this is a place where everyone knows each other. Moreover, the title character, of whom more is revealed as the movie goes on, seems very much like a familiar figure that we can all recognize in someone among our high school classmates of however many years ago.

The narrative doesn't do much to impress at first, but turns in the plot keep us watching. Story beats are written well and stitched together into a cohesive whole that's ultimately quite rewarding, especially at the climax. I also appreciate the ending, summarily cutting to the end credits with an open-ended curtness echoing Worm's jarring, eye-opening journey. Characters, meanwhile, don't necessarily seem developed beyond the purpose they serve in the film, including the aforementioned scenery for the setting. Yet having served that purpose - and given that 'Worm' is enjoyable as is - I'm not going to harp on that particular deficiency.

The prime attraction of 'Worm' is in its technical craft - or deliberate lack thereof. Bowser has taken three novel, relatively uncommon ideas and combined them into one: The movie is filmed with a GoPro camera, worn by Bowser in the starring role. Unlike other features or personal videos that utilize a first-person perspective, Bowser does the exact opposite here, and has the camera turned back onto himself for the entirety of the runtime, creating a minor fishbowl lens effect. And these methods are employed, as per Bowser himself, for the two sole long takes of which the picture is seamlessly comprised, creating the appearance of one continuous shot.

It's an inventive and profoundly risky endeavor to shoot a feature film in any of these ways, let alone all of them, as each technique carries liabilities of one sort or another. Bowser is to be applauded for daring to create something so out of the ordinary, whether it completely succeeds or not. That said, in my mind, 'Worm' does pull it off, quite well.

There's an overarching sense of claustrophobia to the film - not for any specific confined space, but in a more esoteric, thematic sense. Worm, the character, is a man effectively trapped by his past and status in the small town where he was raised. The intrigue he's caught up in has him in a tight spot, and the persistent orientation of the camera further emphasizes this, as though he's in a bubble. The visual of a continuous shot, the believable real-time transpiration of the course of events over 90 minutes, the consciously unrefined quality of the film, and at length the finale - the very last lines of the picture - all build into that atmosphere of oppressive, narrowly enclosed circumstances. This unifying slant to the movie is gratifying for the consideration it's given.

As much as 'Worm' deserves praise, it's not perfect. The film-making style is novel, and it works, but it's easy to imagine that it's a hard sell to a general audience for so much of each scene to go unseen. Bowser has demonstrated reasonable skills as an actor previously, but the "camerawork" here is such that even the most celebrated A-lister has their work cut out for them - and furthermore, Bowser has written himself into a particularly dynamic role that demands strong emotive range. I don't like to be an abject critic, but with these notions in mind, I don't think he's entirely able to sell the part - at least, not when it matters most, unfortunately. And while the weight assigned to preceding plot points makes up for the weakness, I also don't feel like the final scene wholly imparts the gravity that's intended - the briskness of the final minutes, and arguably the camerawork again, detract from the momentousness.

Still, these perceived shortcomings do not outweigh what is otherwise a highly enjoyable movie. Bowser's acting under these conditions is mostly suitable, if thusly imperfect. The narrative is solid. The original music of Aaron Marsh, largely unobtrusive, rears its head to underscore important emotional beats. Every aspect of the feature lends deftly to an intangible air of bounds, and constraints. And this is all achieved, faults and all, with an imaginative, unconventional approach to the production.

Anyone with a keen interest in Bowser's career should have already watched this, and it's especially worthwhile too for any viewer who seeks films treading a path less taken. At that - so long as the atypical storytelling style isn't a turn-off, this is a fine watch for a wider audience. Though not without its flaws, 'Worm' is a carefully and cleverly crafted thriller, and recommended as a fun movie to check out.

Worm is a striking achievement in independent cinema that showcases both raw creativity and technical prowess. Directed, written by, and starring Andrew Bowser, the film immediately grabs your attention with its single-take format-a feat that not only amplifies the tension but fully immerses you in the story. The camera's unbroken gaze pulls you straight into the small-town, morally gray world of Worm, a socially awkward man desperately seeking validation.

Bowser's portrayal of Worm is magnetic, with every awkward tic and nervous utterance bringing to life a character that's as endearing as he is unsettling. The supporting cast shines as well, with Drew Pollock as the overconfident Maverick and Rett Terrell as the elusive Miller, both giving performances that add depth and layers to the narrative. The seamless flow between actors in this continuous shot underscores their chemistry and commitment.

What makes Worm so engrossing is not just its stylistic ambition but the way it maintains an air of unpredictable tension. You're constantly on edge, not knowing if Worm's story will end in redemption or ruin. The film offers a gritty, unfiltered look into a troubled mind, capturing moments of dark humor, quiet despair, and bursts of frenetic energy. It's a film that keeps you riveted from start to finish, as you realize you're not just watching Worm's unraveling-you're living it with him.

For those who appreciate innovative storytelling, Worm is a must-watch, proving that with the right vision, independent cinema can deliver an experience as intense and captivating as any big-budget thriller.

This film is one with a gimmick. A big one. Shot entirely with a GoPro strapped to his chest, director/star Andrew Bowser pulls off an amazing feat with this film.

From what I've read it was shot in two 50 minute takes. The logistics of this film shoot must have taken Bowser, the other actors and producers a long, long time to figure out.

The story is of "Worm", a loser living in a small town in Oklahoma, who gets wrapped up in a tale of murder, deceit and betrayal after agreeing to do an odd job for a mysterious outsider in town for business. He has to navigate throughout the town, trying to avoid both the police and the people behind the crimes he is being accused of.

This all happens in 90 minutes of real time in which we watch Worm try to navigate throughout places and people all while we see every second of what he is doing from the front of his face. The decision to make the film this way makes you really pay attention to the acting of Bowser and realize that he is a very fine actor. The exclusion of most of the other actors besides a few glimpses behind Worm's back and their voices has you blind to most of the scenarios surrounding the actor, but also increasing your sympathy for him at the same time. It's like looking into someone's soul for an hour and a half and feeling what they are feeling, whether you want to or not.

I've seen most of Andrew Bowser's other work that he has done. Several full length movies, dozens of shorts that he has directed and this one seems the most personable to me. I really enjoyed it and look forward to his next feature film.

It's freely available on youtube in it's entirety so check it out.

Tour de force for triple threat Andrew Bowser. As writer/director/actor, Bowser has created a gripping and unique film that is amazing in more ways than I can count easily. The viewer takes every step with the main character and experiences his journey for 90 breathtaking minutes. This film should have a national distributor and millions of people should see it, and I am concerned for the moviegoer's sake when I wish that.

Worm is a ne'er do well petty criminal who finds himself in quite a pickle as the unwitting scapegoat in a grisly double homicide. He gradually comes to realize that nobody close to him can be trusted, and that the life of his young daughter may be in urgent jeopardy.

Audaciously avant-garde low budget neo-noir filmed in two long takes, with the camera focused squarely on the face of the central character. It's a bold stylistic push, but the proceedings are so well supervised that it never feels like a contrived gimmick. The story, which plays out in real-time, is tense and engaging, and the characters, despite being largely unseen, are developed and well dramatized. Andrew Bowser is award worthy in a highly complex and demanding protagonist role, spinning his initially somewhat unappealing loser character into a relatable and valiant hero with a pitiable history.

WORM is far and away one of the gutsiest film experiments to come along in quite a while. Sure, it's flawed. Big deal...the Venus De Milo ain't got no arms. It might not appeal strongly to mainstreamers, but if your tastes run per-contra the dull polish of Hollywood, you won't want to miss it.

7/10.