Tasty_Kakes

For the second half of the 1900's, there have been few cinematic advancements that would qualify as great sequels. Among these selections, one would include: The Godfather II, DGITW 2, Empire Strikes Back, and of course, Death Nurse II. Steve Millard, aka Phillip Miller, aka Nick Philips, aka Nick Phillips delivers a tour-de- force of modern day filmmaking as he ignores the conventions and restraints involved with 35mm and takes the experimental route. Unlike many directors who dwell on shot selection, controlled lighting, and mise-en-scene, Millard-Phillips developed his own style and used video as his format. Current autuers who have disregarded film in order to shoot digital have Millard-Phillips to thank, for he was doing it years before the digital revolution. Not only did he have the courage to take the slasher genre to a new level, he was able to create an absolute masterpiece with, of course, the help of a star-studded cast. Pricilla Alden shines with an unforgettable performance as the cruel, yet lovable Edith Mortley R.N. and the return of Hope, aka Faith, aka Charity was sure not to leave a dry eye in the theater. So when one thinks of the great maverick filmmakers of the last century, be sure to include Steve or Nick Millard-Phillips along with the usual list of Cassavetes, Godard, and Bergman.

James Bryan's brilliant cinematic masterpiece, Don't Go In the Woods, is a triumph of modern-day film-making. Through a carefully selected shot structure, well-developed characters, and a script filled with plot twist leading up to one of the most memorable climaxes in cinema history, the director develops a framework of how films of this particular genre should be constructed. This classic coming-of-age story features show-stopping performances by Dick-n-Cherry, Dr. Twersky, and of course the frightening, yet forgivable mass murderer, "The Birdman". These performances, coupled with the overall beauty of the film's leading ladies, Ingie and Joanie, take the audience on a journey to each one of these character's inner spirit and soul. Bryan over-comes tough challenges such as Ingrid's inquisitive mind dealing with her "rabid and unrabid" theory, Peter's struggle with the comfort found with modern-day life and life in the rugged wilderness, Craig's uneasyness on how much trail mix to put under the trap, and of course Joanie's discomfort with her physical appearance and her worth in the whole of the crew. The film also is highly symbolic, denoting a sense of community with the stars the crew displays proudly on their shirts, along with some social conflicts apparent in 1981, such as inter-racial couples. The film-maker also makes it obviously clear through his narrative style what struggles "The Birdman" is personally dealing with, and how he handles this control/release aspect of his violent nature. The director uses this idea of struggle as an over-all theme in the film by incorporating it into most of the characters (Dale's longing desire to get a shot of the train pulling in, the helicopter pilots financial struggle charging only a nickel a ride, Dr. Maggie's expectations of moving on from a RN to an experienced surgeon). Bryan's careful construction and presentation of mise-en-scene (the one-sock-up, one-sock-down technique during the first murder) along with a wonderful musical score by Sir H. Kingsly Thurber makes Don't Go In the Woods one of the most important features of the horror genre, if not American film-making.