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I was quite impressed by the production values of this film, having seen an earlier production (Cycle of Fear) from the same creator which was abysmal in writing, acting, and production. This time, the writing was mostly good (see below), the acting was fine, and the filmwork was to a high standard, including effects. The only noticeable limitation was exterior locations.

The scripting was very good, with lots of suspense throughout, although the story gets a bit weak in the final reel. I think this could have been wrapped up better, as the characters who show up at the end are a bit contradictory in their supposed motivations. There are also some unresolved questions about the protagonist's troubled relationship with her father - several possibilities are hinted at, without it ever being clear which was actually the case.

Nevertheless, the rest of the rest of the film makes it worth watching, so see if this comes to a screening near you.

This film is a good example of the better end of low-budget indie films. Largely character-driven, a gritty tragic romance/thriller which manages to avoid most of the clichés of the genre. Production values are fairly good; although the sound quality isn't quite up to Hollywood standards, the visuals hold their own. Worth the time to watch.

A nice surprise is that this film seems to show the director has talent in genres outside the slasher/horror direction of much of his other work. He also clearly cares about getting a script fully completed and solid before trying to put it on film, so you don't get a sense of rushed or weak writing.

This film is currently on Canadian tour with the writer/director (and sometimes some of the actors) rather than via a distributor, and appearing in some film festivals, so you may get a chance to see it locally. If so, I suggest you do, as you'll probably get the chance to discuss it with the writer/director afterwards.

This film does a good job of presenting and explaining what Rush is all about, and how the group has earned respect from fans, producers, DJs and other musicians (just not critics). Not quite hagiography, as it quotes some of the negative reviews and the band's own dissatisfaction with some of their albums or directions or even wardrobe choices.

Unlike the filmmakers' heavy metal survey films (Headbanger's Journey and Global Metal), in this film Dunn is never on screen and is only heard once or twice asking questions of interview subjects. The spotlight (or limelight) is clearly placed on the band - this is a straight-up documentary, without dwelling on a fan's relationship to a band or genre. As in previous films by this team, the interviews with a surprisingly wide variety of subjects provide much of the meat of this film, giving a broad perspective and keeping it from having too much of a narrow viewpoint. Of course at least half the interviews are with Rush members themselves. You get a real sense of the men behind the music, including their relationships to each other, family, other musicians, and fans.

A special aspect is some great earlier footage, even from family discussions while they were still in high school. There are also some powerful landscape shots while exploring Peart's response to deaths in his immediate family. And the examination of the song-writing process, including shots of original hand-written lyrics drafts, provides good value for viewers.

Overall, a well-made film that does justice to the topic. Not as poignant or story-arced as Anvil: the Story of Anvil, this film has a more successful subject and didn't need to become a real-life Spinal Tap to make a interesting watch.