Rating: C+
Dir: Ian Tripp, Ryan Schafer.
Star: Vinny Curran, Brendan Cahalan, Iliyana Apostolova, Ian Tripp.
This definitely falls into the category of, “Well, what did you think was going to happen?” It follows fallen director Alfred Costella (Curran), as he tries to make a comeback, years after a disastrous interview sent him to cinematic jail [the interviewer is played by Bill Oberst Jr. and that’s what got it onto my watch-list. We are contractually obligated to watch anything in which Oberst appears]. He is now back, making what he says will be his magnum opus in Costella’s compound – which looks suspiciously like a scrap-yard. He brings on board documentary film-maker Calvin (Tripp) to record proceedings as he works with PA Grant (Cahalan) and leading lady Allison (Apostolova).
The title of his final film? Everybody Dies at the End. Therefore, absolutely no prizes for guessing what occurs over the course of shooting. You will be a long way ahead of the characters there. They remain oblivious to the intentions of the auteur, well past the stage any reasonable person would be noticing the consistent disappearance of actors after they have filmed their death scenes. However, I get the sense that probably isn’t the point. Given the title, it’s not as if the makers are trying to hide this. It is more a ruthless indictment of the way people can be manipulated – in particular on film sets, where, if he yells loudly enough, whatever the director wants, the director gets. No matter how batshit crazy it may seem.
It suggests a “movie crew as cult” motif, such as in the identical Hawaiian shirts worn by those working on the film, along with the unquestioning commitment to the director’s goals and methods. This dedication remains unwavering, despite him doing things like drenching Allison in real blood to get the desired reaction, yelling at people through a megaphone from a distance of three feet (top), and hectoring the cast in a way even Hitchcock might find excessive. It’s too obvious to be effective, and we were more amused by subtler moments. For instance, the actor who took the role to promote his new tequila brand. Having been around our share of low-budget film sets, it was clear Tripp and Schafer have been there too.
Things eventually escalate to the final day of shooting where… Yeah. I won’t spoil it. Or, at least, I won’t spoil the specific nature of it, in particular the last death. I will say: I’ve not seen that as a method of dispatch before. It’s all lightly-amusing enough to pass muster, especially if you are or have been “in the biz”. For anyone else, it may well prove to be a little too self-referential for its own good. I know my tolerance for this kind of meta navel-gazing isn’t what it used to be, especially in a debut feature. Still, they learned from the experience: the pair went on to make Sincerely Saul, and it is a considerable improvement.