INDIE MOVIE REVIEW - WRITTEN BY JOE COMPTON
18 1/2
(COMEDY, THRILLER)
In 1974, a White House transcriber is thrust into the Watergate scandal when she obtains the only copy of the infamous 18½ minute gap in Nixon's tapes.
That formula, after the aesthetics charm you, begins and ends with the acting. That's where the other element of this film really shines, Willa Fitzgerald is masterful as Connie the White House Transcriber who uncovers an amazing reel that begins a crazy ride with Paul a reporter from New York Times (played wonderfully by John Magaro) and many, many more characters.
Most of whom we meet at the Silver Sands Motel. The way in which Willa stays guarded, mischievous, and yet immersing reminds me a lot of a young Jessica Fletcher (Angela Lansbury's character in Murder She Wrote) at times with a nice little bit of Mary Tyler Moore thrown in. I love her fierceness and yet that tinge of vulnerability gives her such depth and we will gravitate to the ride she takes us on. The subtle nuancing she does in many moments that require a fair amount of craft really showcase what a powerhouse actor she can be and is. I think John Magaro has a lot to do with how she plays a lot of these key moments though. As you get this sense of comfort (if you are familiar with John's work that is, highly recommend seeing him in The Big Short, I get a lot of Charlie in watching him in this performance), even though his character is never comfortable maybe except for 1 moment. That dynamic works so well though. Then you mix in some beautifully audacious performances by the likes of veteran actors like Richard Kind, Vondie Curtis-Hall, Catherine Curtin, and Sullivan Jones and you get a nice way to distract, disarm, and playfully move this plot into its amazing 3rd act. Which is not to be missed.
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WHY CHAMPION THIS MOVIE: Dan is a marvelous director. He has been for some time now. For those who don't know he was one of the founders of Slamdance and his movies not getting into Sundance was one of the catalyst for that festival's creation. That being said what I have come to really appreciate about Dan especially, is you can see him absorbing a lot of what he experiences being a part of the Slamdance family from the young filmmakers he helps get seen. That's so refreshing, to see someone who already knows how to make a movie, embrace the styles of the now and take little things from his peers; some of which were not even alive when Slamdance started. I think Dan himself also really has a great sense of how to get himself over on this thing we call social media. These all valuable lessons I think any artist would cherish as a wealth of knowledge on display. Yeah, those are reasons to follow Dan Mirvish and support him and Slamdance for sure but what about the movie? I think if you like mysteries, tongue and cheek almost Cozy like, with a tinge of nostalgia for a time of bodacious fodder and cerebral change you will really dig this movie.
Look not all Indie Films that kind of parade into type of heavy dialogue, static engagement, slow panning style work to keep you there but that is not this movie. This movie from opening frame on, has this brisk enough pacing that knows how to utilize those conventions and play on that ideology as its stymies and astounds with a jaw-dropping 3rd act. It's clever, interesting, and very stylish. All of that equals the kind of awesome I personally love when it comes to Indie films. You may be hearing about this film from me again toward the end of the year.
IT'S MAKING A NICE THEATRICAL WIDE RUN OUT THERE RIGHT NOW, IF YOU SEE IT AT YOUR LOCAL CINEMA, GO!!!!
You can also keep up with it over at Dan Mirvish's Website
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