Running Time

It seems obvious to me that the creators of this film realized early on that they were working with script that is cliche, predictable and wholly uninteresting. So, instead of trying to make the story itself interesting, they decided to shoot it in what they must have believed to be an interesting way. Long takes, few cuts, real time, real mess.

These sort of films may be attention grabbing from an experimental veiwpoint, but don't offer much in the way of good storytelling. Movies are traditionally cut and edited the way they are for a very good reason...it works. While some may consider this style of filmmaking challenging and artistic, I think lazy is more on point: strap a steadicam operator with a rig, have him run around following the action for an ungodly amount of time and it only takes you two days to edit, wow!

The negative effects of shooting a film in such a way far outweigh the possible benefits. Sickening camera shifts (think Blair Witch), stagnant camera angles, and uneven acting performances are all inevitable results. Plus, it seems to me that the value of such extended takes come as a result of their scarcity. P.T. Anderson understands this, and while he almost always incorporates a long take or two in his films, they serve as juxtapose the more traditional shooting style and, are therefore interesting.

While "Running Time" may be a fascinating filmmaking exercise, this bizarre and ineffective shooting style, when combined with a poorly written script make this movie practically unwatchable and certainly unenjoyable. It appears as if the creator of this film was making it solely for himself and not for a viewing audience, which is fine, but these sort of pieces are better suited for film school projects than feature film releases.

Carl has been in stir for five long years and is finally getting out. All he has thought about behind bars is pulling off the perfect heist, which he's got all planned out. Released, a free man again, Carl immediately meets up with his crew, enjoys the services of a prostitute (who happens to be an old flame) and sets out to rob the prison laundry system. Despite all his meticulous planning, that cruel mistress fate has a few tricks up her sleeve for Carl that will make his perfect score seem like the job from hell.

Directed by Josh Becker, 'Running Time' is a tense, atmospheric heist movie made to look like it's filmed in one continuous shot. This is something that is used in a lot of films, and can be distracting and gimmicky, with the audience often ignoring the narrative; spending their time instead trying to spot where the cuts are hidden. It never appears like a gimmick in 'Running Time' though, heightening the stress and tension of the situation Carl is in, as well as maintaining the audience's rapt attention throughout the movie's run.

It is also filmed as if it's happening in real time, another technique that can appear gimmicky in some movies, but- again- doesn't here, adding a sense of urgency to the proceedings. In fact, Kurt Rauf's handling of the cinematography feels consistently fresh and inventive, while the choice of shooting it in black and white lends the movie an atmosphere of film noir. Under Becker's direction, 'Running Time' has terrific visuals that stand out in the viewer's memory long after the credits have rolled.

Bruce Campbell delivers an understated performance as Carl, a criminal with a conscience. He never goes over-the-top, and his personality doesn't overshadow the role- which sometimes happens when the material he's working with isn't very strong (see 'Alien Apocalypse', also directed by Becker, if you have any doubts about this last point). He plays Carl like a classic, charming anti-hero, the kind one could imagine someone like Burt Lancaster would have played in his day. It's a shame the film isn't more widely seen as its one of Campbell's finest on-screen performances (up there with his terrific turn as Elvis in 'Bubba Ho-Tep').

The screenplay- written by Becker and Peter Choi- is strong and full of snappy, pulpy dialogue that would not be out of place in some of David Mamet's work from the late 90's. The story rockets along at a brisk pace, though a melodramatic, clichéd love story sub-plot involving the aforementioned prostitute does make the film drag a little- in the second half especially.

Though these scenes are well acted by Campbell- and Anita Barone as the prostitute- they are the weakest part of the film and could have benefitted from a more active set of hands during the editing process. Also, the members of Campbell's gang aren't very interesting or memorable characters, which is a shame as the actors perform admirably in their roles.

The film is engrossing though, not to mention highly entertaining. The heist sequence is particularly well filmed and acted, feeling as tense as a stretched bowstring in the last round of an archery competition. The story is fairly unpredictable as well, and Joseph LoDuca- who has scored a lot of Campbell and Becker's work, from 'The Evil Dead' to 'Xena: Warrior Princess'- provides an atmospheric soundtrack that contributes effectively to the film's frenetic, swift pacing.

Though some of the supporting roles are a little lacking in characterization and there are some sequences that could have used tightening up- either during the writing stage or in the editing room- this is one movie you don't want to miss out on. Shot with a distinct visual style and featuring a strong, subtle performance from Bruce Campbell, 'Running Time' is an enjoyable, original whirlwind of a crime caper.

Made in the same all-in-one-take method that Hitchcock (who is thanked in the end credits) created for ROPE, RUNNING TIME is actually more inventive on some levels. Hitchcock shot his film on a stage at Warner Bros., but Becker's is made out in the streets of Los Angeles. Granted, Hitchcock didn't have the highly mobile, lightweight camera equipment available to Becker, but it couldn't have been easy shooting RUNNING TIME (amusing, punning title) from moving cars and on Los Angeles streets.

The script is taut and well-written, and occasionally quite amusing as the hold-up men squabble amongst themselves during the robbery. The movie is also unexpectedly romantic in a tough, ultra-film-noir manner (the hero and heroine have sex before they recognize each other from high school).

Becker also varies the style impressively at times, from a rock-steady, documentary-style approach at the beginning, to a more surrealistic sequence during the robbery, as the camera shifts wildly from one perspective to another.

The film didn't have much theatrical distribution, and is evidently available on video only from the director, but video stores should stock it. This is one of those movies whose reputation will increase in the years to come.

Josh Becker's "Running Time" is a remarkably effective and economical heist flick shot in black and white with the illusion of being a single take. These stylistic anomalies may draw your attention at first, but "Running Time" is more than its experimental hook. It's a good, taut thriller with a sharp comic edge. It also has a refreshingly brisk pace (clocking in at about 70 minutes long).

Bruce Campbell is excellent in the lead role as Carl, an ex-con whose plan for the perfect heist is undone by the incompetence of his partner Patrick (Jeremy Roberts) and a general case of Murphy's law. Anita Barone also gives a winning performance as Carl's former high school squeeze, Janie.

"Running Time" is a fine film that deserves a wider audience. Help start the trend.

It's an idea with the potential to go wrong, but Hitchcock made it work with Rope, and now Josh Becker has done the same with Running Time; a film with the word 'cult' written all over it! The fact that this film is shot in black and white makes it stand out somewhat from the crowd of nineties films, but it's the way that it's filmed that is Running Time's claim to fame. Becker shoots the film in one continuous shot that follows around lead character Carl through one day. This idea worked brilliantly for Hitchcock, but I was worried that it might not work so well for a movie about a heist - but it really couldn't have worked better! As mentioned, the plot follows Carl Metushka - a man newly released from prison. He meets up with his buddy, and it soon becomes apparent that Carl hasn't decided to stay away from the life of crime. No, he and his friend have a heist planned and we watch as they pick up a couple of people needed for the heist, and proceed to do the actual robbery...but you can't expect a plan like this to go off without a hitch.

The fact that Running Time is filmed in one continuous shot means that it's very easy to get into. This is complimented by the running time, which is extremely short at just sixty five minutes, and means that the film really doesn't have time to get boring. Becker keeps things interesting with a constant flow of action, and some rather amusing dialogue, which ensures that the film constantly makes for fun viewing. One of my major reasons for seeing this film was because of the presence of B-movie maestro Bruce Campbell. Campbell has a lot of charisma, and this shines through excellently in this film. Campbell is a very handsome man, and Becker makes good use of that fact with his role here. The rest of the cast are secondary to Campbell, but good use is made of all of them, and they all give realistic performances. The film is a little preposterous as certain things, the ending especially, are a little silly -but it really doesn't matter as Josh Becker's experiment is a huge success and overall, I can't not recommend that everyone takes the time to track Running Time down!