Tabloid Vivant (2016)
Matt Boiselle
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Starring Jesse Woodrow, Tamzin Brown, Chris Carlisle
Directed by Kyle Broom
Interesting? Why, yes. Artsy? Absolutely! Inherently creepy? Somewhat. Requires some alcohol in order to process the presentation correctly? Never been so sure of anything in my damned cursed existence.
Director Kyle Broom steps out into the light with his latest film, Tabloid Vivant, and directly gives the audience a firm, overhand swat right to the piehole with a delicate touch of “didn’t see that coming, did ya?” added onto it.
Now that’s not to say that the actions contained within this particular film are all that shocking, but it’s the initial presence that might trip you up, and after you’ve completed viewing this movie, THAT’S when you’ll feel the sting of the smack. Depending upon your appreciation and penchant for inflicted abuse, this one just might be right up your alley – let’s jump into this one and see what we have to rinse off of us when it’s all over, shall we?
Art is life, and for dedicated virtuoso Max (Woodrow), he’s tiptoeing on the brink of developing a new format. With the help of Sara (Brown), both a critic and skeptic, the two plan out a seclusive trip deep into the woods…to a cabin…and I really think you all can fill in the blanks as to what’s gonna happen here. Let me stop myself before my ass gets way in front of me – this by NO MEANS is another “cabin in the woods” horror film – just wanted to get that out there for all who might be cringing in their seats. This is much more than that: a contorted (at times, confused) and darkly navigated play into the world of an artist’s psyche, and what he’ll do to create the ultimate affectation.
It takes a bit to ramp this story up, but after some time, both Max and Sara find themselves completely lost in what they’re doing, or where they even are at times – Max’s obsession has taken full hold of him, and when his friend Rob (Carlisle) checks in on the safety of his pal, what he comes upon is not entirely of the “sane art spectrum.”
Broom’s direction in this one relies on a combo of arthouse/noir cinematography along with present-day techniques, and the meshing together of the two styles provides a visual experience that will engage some and make others turn a shy eye, but it’s overall pleasing to the peepers to take in. Tempo is a bit staggered, and you’ll be twiddling your thumbs for about two thirds of this display, but the eerie factor is invariably present, and the slowdown in pacing is rescued at times with both the performances of Woodrow and Brown.
I’d offer this one up to fans of the arthouse set, but I think it might have a bit of a problem latching on to the more grounded fans of horror, but hey, we’ve all got our faves! This one didn’t really hit the mark with me, but I’ll definitely take it over the pulsating heaps of celluloid fecal matter that’s been tossed at us like viewers to an ape’s cage at the zoo this year.
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Film
Categorized:Reviews
