Skip to main content

Breaking Even: Adam Sigal's When the Starlight Ends

 Sam Heughan, Arabella Oz, David Arquette. Dir. Adam Sigal, Cinedigm, 2016


Along with The Beast, When the Starlight Ends was my great-unknown buy on my last trip. Found for $2 in the Dollar General clearance bin, it looked like some micro-indie romantic drama, maybe an ensemble piece, that somehow got enough distribution to turn up in an Oxford DG. Might be a cool discovery. Might stink. $2 made it worth the gamble. Watching it, not as much.

First off, When the Starlight Ends is exactly what it appears, a microindie rom-dram, starring a star of Starz's Outlander series and his two famous friends, Sean Patrick Flanery and David Arquette, in cameos lending what looks like a student film with a good grant some dubious accociation with celebrity. Its best moments all owe to cool cinematography moreso than performance or story. A driving scene either resurrects real rear projection or some digital version thereof, but looks really cool either way.

The story - I mean, it's more a standard set of situations, like a writing-class exercise on film, where the idea is to ring the kind of stylistic/cinematographic changes on the form likely to get some Hollywood or big producer's eye. For Mr. Sigal's sake, I hope he succeeded. For future audiences' sake, I hope that studio or producer acquaints him with interesting characters and stories that are about something. Anything.

Could be a real discovery. Could be crap. The Beast was a discovery. When the Starlight Ends goes to the other place. A 50-50 split on the gamble. For $3, I found one movie not yet on bluray worthy of agitating for, a truly striking and obscure film and a no-budget bore. A satisfactory return on the investment.

Comments

Popular posts from this blog

Cuck Fiction: Charles Vidor's GILDA

 Rita Hayworth, Glenn Ford, George MacReady, Steven Geray. Dir. Charles Vidor, Columbia, 1946 My favorite erotic fiction deals with cuckolding. The stories fascinate me. As people, cuckolds don't seem to think they're worth nice things. Or happiness. On the other hand, the cuckolding partners and their multiple lovers don't come over as the clear victors, either. Part of the fascination - maybe most of it - lies in trying to decide which party comes out the MOST degraded.  Is it the submissive, sensitive husband and his unsatisfactory size/staying power? Is it the "slutwife" who finds satiety in being transformed into a fuckdoll to humilate her husband? Or is it the lover - often black - who gets to degrade the sexy white lady but who doesn't otherwise matter? As in bdsm scenes, if the cuck is most degraded, that means he also "wins," as his desires to see his wife turned into a promiscuous slut while he gets to be bi without shame are most fulfi...

Junkie-fatigue: Taylor Hackford's Ray

 Jamie Foxx, Kerry Washington, Terence Howard, Warwick Davis, Curtis Armstrong. Dir. Taylor Hackford, Bristol Bay/Universal, 2004 Jamie Foxx, nominated for both Supporting Actor and Best Actor at the 2004 Academy Awards, won Best Actor for Ray and, watching Ray tonight for the first time in about 15 years, I'm glad it went down that way. Tom Cruise gave a career-best performance in Collateral, for which Foxx received his Supporting Actor nod. It's a great performance, too, but no moreso than Cruise, ignored by the Academy, so it feels right to me that Foxx got his statuette for the movie where he didn't share the spotlight with a star of Cruise's magnitude. Not that it would make much difference if Foxx had some high-voltage costar in Ray, because the movie simply doesn't exist without Foxx and his essay of Ray Charles. Not unlike Coal Miner's Daughter, the other music biopic whose star picked up a Best Actor, Ray occurs from Ray's point of view, so ther...

Mediocre be thy name: John Gulager's Zombie Night

 Anthony Michael Hall, Daryl Hannah, Alan Ruck, Shirley Jones. Dir. John Gulager, The Asylum, 2013 For those unaware, The Asylum is a film production company specializing in cheapo horror and action titles, most subgeneric ripoffs of whatever horror/scifi/action titles are popular that year. Referred to as "mockbusters," these low budget achievers look like their big-money brethren, often featuring solid B-list casts, as Zombie Night does. Though The Asylum has attracted a following, the more serious, hardcore fans of el cheapo horror (et al) tend to turn up their noses at most Asylum product. Marc Edward Heuck, Our Man in the Valley, summed it up thusly: "I don't watch much Asylum fare, because frankly they're not awful enough, they're just mediocre. Like, they're not content to just have the monster or the topless girl and the requisite scenes therein and otherwise leave talent alone to be unique like Roger Corman was, they micro-manage all the pe...