Just as one doesn't need to hear studio effects and forty-seven instruments in order to enjoy a song that's good in its very essence, he doesn't need color and surround-sound to enjoy an inherently excellent tale bolstered by terrific acting. The latter is just what Bollocky Simper is. While you're at it, you can also do away with fancy dissolves, digital graphics and formulaic staleness like disturbing violence. Sick of the same old thing? Then this film's right up your alley.
The story told by the bodies and faces in Bollocky Simper works perfectly in black and white with interspersed captions instead of dialogue (just like in the old days). The truly outstanding thing about the choice to use this idiom is that the Kids on Coffee don't utterly rely on it to present their tale with charm and humor to spare. Rather, the movie works with the innocent genre like a guitar working with a bass, sometimes even stepping outside the convention to poke fun at itself ("You look like a girl!" derides an actress speaking to another who's playing a man).
Speaking of music, the soundtrack is what makes this movie truly "contemporary," supplying (instead of the organ music that the brain expects) some lovely guitar interludes, modern rockabilly-cum-Emo-like-new-wave and even a fitting railroad rhythm that sounds like Dick Dale and Johnny Cash have gone to get coffee, leaving their drummers to come up with something on their own. James Deveney did an outstanding job of providing all of the transitions, climaxes and dramatic themes that one could wish for to accompany something like this.
There are no weak spots here, no lingering atmospheric bores; Kids on Coffee mean to unwind this yarn for their viewers, not themselves, and the commitment to STORY shines through every bit of cute melodrama, doing away with the empty spaces of ego to really bring out the humor lurking in the very script.
This brilliant, joyful movie is consistently entertaining. Do yourself a favor and enjoy the refreshing feel of a story that exists perfectly without any modern embellishments getting in the way.
The story told by the bodies and faces in Bollocky Simper works perfectly in black and white with interspersed captions instead of dialogue (just like in the old days). The truly outstanding thing about the choice to use this idiom is that the Kids on Coffee don't utterly rely on it to present their tale with charm and humor to spare. Rather, the movie works with the innocent genre like a guitar working with a bass, sometimes even stepping outside the convention to poke fun at itself ("You look like a girl!" derides an actress speaking to another who's playing a man).
Speaking of music, the soundtrack is what makes this movie truly "contemporary," supplying (instead of the organ music that the brain expects) some lovely guitar interludes, modern rockabilly-cum-Emo-like-new-wave and even a fitting railroad rhythm that sounds like Dick Dale and Johnny Cash have gone to get coffee, leaving their drummers to come up with something on their own. James Deveney did an outstanding job of providing all of the transitions, climaxes and dramatic themes that one could wish for to accompany something like this.
There are no weak spots here, no lingering atmospheric bores; Kids on Coffee mean to unwind this yarn for their viewers, not themselves, and the commitment to STORY shines through every bit of cute melodrama, doing away with the empty spaces of ego to really bring out the humor lurking in the very script.
This brilliant, joyful movie is consistently entertaining. Do yourself a favor and enjoy the refreshing feel of a story that exists perfectly without any modern embellishments getting in the way.
