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The Internet Movie Database (IMDb)
Kidnapping,
Love, Guns, Booze, Videotape…
Road Trip!! Gotta love it.
Author: elrincondelcine from Portland, Oregon
…stands alone as an example of what
independent film making should look and feel like. It quickly deals
with the obvious issue of being shot on videotape and needs no explanation
for it's jittery look. The story provides the context for the aesthetics.
Genius.
The editing is fast paced and clever. The shot setups are unique
and feel natural. The organic feel of the actors was what was most
impressive. Yost has the style and ability to let the dialog and
action flow within the stream of consciousness. This lent the credibility
and reality that most indy films lack these days. Most try too hard
to do what Yost made look easy.
The writing, if there was any, was simply
amazing. The scenes were discussed before they were shot or they
only had a predetermined outcome. That is a BOLD and brilliant move
that worked perfectly. It is an unpredictable mix of a drama, action
and a laugh-out-loud comedy.
The actors along with the locations were without a doubt Yost's
greatest accomplishment. Robert Blanche's (Nick) brooding sense
of humor and Sarah Rosenburg's (Tess) style, wit and grace combine
for some intense on screen chemistry. The emotion and romance are
gritty and potent. The intimate moments they share feel real and
heart felt. Their spontaneity and respect for the moment is what
real romance is all about. Life and love on the verge of insanity.
The balance between what is right and what is wrong and never the
twain shall meet.
IMDb
review of shooting nick
Willamette Week:
“…an unpredictable caper that combines the classic road-picture
genre with the digital-video guerrilla aesthetics of films like
The Blair Witch Project. Local actors Sarah Rosenberg and Robert
Blanche star, with Blanche giving an outstanding performance as
titular hero Nick, an engaging hybrid of Ferris Bueller and Natural
Born Killers’ Mickey Knox.” |
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RAINDANCE FILM FESTIVAL:
"Intending to shoot a documentary about American life, middle-aged loser Dan (director Daniel Yost) is instantly kidnapped by a manic couple (Robert Blanche & Sarah Rosenberg) who demand that he documents their trip to the beach on video. Understandably terrified, Dan accepts their instruction and before long is in the back seat filming their every action, the footage of which constructs the film itself. Subjected to such humiliating yet side-splitting taunts as introducing his newfound friends to his elderly mother (whom he lives with), he remains loyal to his captors; even to the extent of lying to the police. Though ridiculed for his boring lifestyle, Dan gradually becomes an essential mediator between the frequently turbulent couple. While remaining behind the camera for most of the journey, his presence is always prevalent within the scene, eventually blurring the line between victim and friend. What begins as a chaotic comedy progresses into a fascinating character study, where the initially anarchistic and hostile kidnappers are explored to reveal a greater depth. Their frank conversations offer a vibrant social commentary on America, demonstrating two intelligent fun loving people who have become disillusioned with today's society. Shooting Nick plays out like a fascinating holiday home video, only its contents far exceed its form. It is witty, raw, hilarious and often genuinely touching. With a sharp script and a thoroughly independent spirit, it's a must-see." JM
The Oregonian:
“…a bizarre and compelling
effort from director Daniel Yost, best known as the co-writer of Drugstore
Cowboy. Making a virtue of its low budget, ‘Shooting Nick’
is seen entirely through the lens of a camera wielded by Dan, a documentary
filmmaker who is abducted and bullied by a couple of ne’er-do-wells
named Nick (Robert Blanche) and Tess (Sarah Rosenberg). He accompanies
them in a Lincoln town Car on a two-day binge of erratic and dangerous
behavior, including stealing a dog and playing with firearms. The
performances are relaxed enough and the single-camera video aesthetic
gritty enough that it’s hard to tell what’s scripted,
what’s improvised or even which participants in the various
pranks and encounters are willing ones.” |
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