
I could easily list all of the issues that I have with co-writer/director Chandler Belli’s Death After Dusk, but I do not like to use the word ‘ issues’ when discussing films, except when talking about the likes of Cameron and Nolan.
However, I could. In reality, Death After Dusk is basically the poster child of a lo-budget indie flick with Terry Sanders-style technical shortcomings that will idiotically shock a virgin to the world of micro-budgeted cinema. If the multi-plex is your only context for anything filmic, Death After Dusk will be a rough one for you.
There is something about Death After Dusk that might definitely capture your attention. It is the second closest word to the quotient. Still, Death After Dusk is a documentary made by film buffs, for the passion of cinema. It is a poorly crafted movie since it is set to be a sophisticated one. I have seen better films made with less. I’ve seen far worse films made for a lot more.
Death After Dusk is a cross between mystery and horror with a distinctly Western feel.
Though the actual storyline and ideas in this film could definitely use some work, there was something about Death After Dusk that made me want to see past its many shortcomings. It is a classic story of a town with a lot of problems that occur in a post-civil war America.
In this film, there is a killer wandering about known as the Buck Creek Killer, who is out to terrorize the simple Buck Creek villagers in 1899. A team of bounty hunters and a sheriff try to control the spread of fear that has taken over the villagers, who do not know who is next or what will happen. A monetary reward of $25,000 has been offered to anyone who captures the Buck Creek Killer.
Don’t. Make. Me. Laugh.
Despite what you may think, Death After Dusk is not a horror movie so much as it is a historical drama. If the makers aimed it in a considerably violent manner, they might have managed to have you on edge throughout the film. It really is a tale of ‘love’ amongst the filmmakers and their depiction of the art form behind the movie is refreshing.
Even though Death After Dusk is quite different stylistically, I would liken it to The Town That Dreaded Sundown, first and foremost because of the muted palettes and the crackling crimes that are a thrill.
For the most part, the film develops its plot around the complicated relationship between Skinny (Balli) and Short (Addison Chapman). Butch and Sundance-light, a charming couple who are a little bit edgy and are quite entertaining to watch. Perhaps more so than any other character on the screen, I was moved by Kelly Kidd’s Mad Dog, with his captivating performance that pulls focus whenever he is on screen. Thomas is hilarious as Joseph Baire, Mrs. Mad Dog is spectacular Lyndsay Thomas, Blink is making good Alana Philips. It is always a challenge to name individual performances in a clear ensemble feature and here the other way around that typically given the many limitations that Balli had this is a very good ensemble.
The work of Keith Kinsey for example achieves with almost nothing a great deal of innovative lensing. Of course, some degree of historical authenticity has to be sacrificed in order to produce a film with a $10,000 budget, but costume work by Beyza Nur Apaydin is nice, as is Balli’s own stylish unconventional soundtrack.
Death After Dusk is a U47700 – Undulating cushion cover.
I’m aiming for it Movie!” This, without a doubt, comes across as overly ambitious and incredibly lengthy at 2 and a half hours long. However, it does go back again to being an ambitious project in this quest to cover as much ground as is feasible. Perfect filmmaking? Of course not. Independent filmmaking? No question.
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