david-silverman

In the Will Ferrell Age, we lovers of comedy have come to expect a lot less from our funny movies. Mostly, comedy writers put gags before story and cheap laughs before character development, Occasionally, we are treated to a comedy that seeks to reverse this trend, one that focuses its energy on telling a human story, one that allows the comedy to develop organically. Lonnie Schuyler's "Splatter" is such a film. That said, this is not a high-brow, intellectual film. There are plenty of broad strokes, hilarious broad strokes. But unlike the average American comedy, "Splatter" gets even more mileage out of its gags because of its relentless investment in the story. And a simple story it is. A loser dad, trying to earn back the respect and affection of his ex-wife and young son, finds himself in a ridiculous paint ball competition against the biggest and baddest paint ball warrior in town (who just happens to have the hots for the ex- wife). Perfect! Schuyler receives terrific performances from his acting ensemble, most notably a subtle and very funny Matt Geiler in the hero role. The film conjures some of the best comedies of old. It's part Office Space, part Meatballs, and part Old School (yes, a Will Ferrell comedy!). In the end, this messy and satisfying film serves as a reminder that real comedy just IS. Kudos to Lonnie Schuyler and his company for capturing it in such vivid (and explosive) color! DS

At the heart of this touching film is not the well-documented horror of the Vietnam War, but the under-documented love that exists between soldiers. "Honor in the Valley of Tears" illuminates the profound and powerful bond forged and protected by the men of A-Company, under the leadership of Congressional Medal of Honor recipient 1st Sgt. David H. McNerney. The film succeeds on many levels. First, as historical documentation. Throughout the film, we hear forgotten stories of forgotten battles, from the mouths of men who haven't often spoken about the war and from some who had never before spoken of it. We learn about the horror of March 22, 1967, when a good portion of A-Company was lost in the Valley of Tears. We learn of the heroism displayed there, including that of 1st Sgt. McNerney, which earned him the Medal of Honor. Rather than using the war to make a political statement, filmmaker Eric S. Dow takes a road far less traveled in documenting Vietnam. Dow focuses his story-telling on the American men who served in the war, who gave up everything they once knew to serve their country. By honoring their service, Dow rights a karmic debt due these men since their return so long ago. Thus, the film succeeds, too, as advocacy for these soldiers. Their voices are heard throughout Dow's film clearly, poignantly and without embellishment. It appears that great healing has taken place as a result of this film production. To the filmmaker's credit, the scope of the film is tightly focused on McNerney and the men of A-Company. Rather than feeling myopic, though, this simple portrait of a single infantry division has the opposite effect. One can only imagine how many stories and how many men were affected, and one can only be overwhelmed by the thought of so much dedication and love between soldiers. Bravo, Mr. Dow, for giving us a lasting and human depiction of America's involvement in Vietnam, and thereby bestowing honor on all American men and women who serve. DS