This Wild Dogs production, a somewhat unusual mixture of the studio's (wait, is it actually classed as a studio? More a production house? Either way it's more of a sweatshop) celebrated foulmouthed crimers and good old fashioned comedy of errors. Plot here concerns a geeky nebbish (Fredianelli) who finds himself entangled with slightly shady girl (Jana Ireton, a grown-up Mika Boorem on hot pills) who has inadvertently absconded with a mob witness and the variety of wacky adventures they encounter while trying to escape from mob boss Big Daddy Don Guido's (fine performance by
some guy) inept henchmen and pursuing FBI agents played by Ben Affleck and Tyrese. Tonally, this felt like a movie of two halves. The first half solid, character driven drama with frequent touches of light comedy as the "couple" make some house calls that inform us of the leads' motivations and backstory but seem to always end on a sour note. But a dinner party that doesn't end in gunfire isn't worth going to anyway. In the second half, the comic insanity kicks into overdrive with some amusing situations caused, and often resolved, by the brand of WD violence we all know and love. And not just of the flying lead variety, I lost count of the amount of shots to the balls some of the actors took in the name of cinematic immortality. Michael Nosé, stepping out from behind the camera, proves he has lost none of his depressed store mannequin emoting style. Though he does supply some of the film's biggest laughs, impersonating a bucktoothed orphan to get past some of the dumbest goons ever and removing a gorilla mask to frighten the crap out of the Gallegos kids. Inspired. The final few scenes were sombre and left the film on an open ended note, again harking back to the first half of the film where character development was at the forefront. So a bit of a misfire, but not an altogether unsuccessful one. Literally sidesplitting cameo by Aaron "don't call me Ike dammit, I'm using my real name now like Laurence Fishburne" Stielstra as a street bum with the cleanest blanket and gassiest backside on the West Coast, his rooftop bird demonstration is both a masterpiece of interpretive dance and a warning of the depths of debasement some actors will stoop to. DVD extra with sexually-ambiguous homeless wackjobs is a strangely compelling oddity, and is just crying out for a feature-length presentation.
9 Reviews
Guerrillas in Gorilla suits
Pycal29 July 2008
Warning: Spoilers
In a relatively short amount of time, the highly prolific indie filmmaker Michael Fredianelli has graduated from no-budget homemade shorts to low-budget feature length films. 'A Bird in the Bush' is the second such Fredianelli feature to garner a film festival showing as well as a highly impressive DVD release. The film's plot chronicles the life of a nerdy, out of work ornithologist named Grant Oldman (Michael Fredianelli) who by chance meets up with the beautiful Barbara Bridges (Jana Ireton) after she strikes him down in the middle of the road with her silver Ford Mustang. Barbara, herself penniless and unemployed has little to offer Grant in repentance for her act (save for a replacement for his soiled suit). Then an idea hits Grant, maybe he can strike a deal with this attractive young woman to pose as his wife. After all, Grant had previously lied to his possible employer that he was married. Chances are that if he showed up without a wife for a dinner arrangement at the man's house that very night, Grant would have no opportunity of securing the job he desires. Barbara (or Babs as she is often referred to) reluctantly gives into Grant's plea and agrees to act as a surrogate wife for a night. Little does Grant know that Babs is in actuality a selfish bipolar bitch who is chauffeuring him around in a stolen car. Unbeknownst to Babs, the Mustang belonged to a mobster with a mysterious piece of cargo tucked away in its trunk: the sole witness to a Mafia massacre. As the story progresses, Grant and Babs find themselves on the wrong side of the law and are chased by U.S. Marshalls and Mafia hit men alike (not to mention two bratty, BB gun totting Gorilla hunting kids).
'A Bird in the Bush' with its sleek 102 minute running time is a fun ride from beginning to end. Full of action and suspense, there is nigh a dull moment in this flick. Some particular highlights include the poetic (and brutal) death of a hobo (Aaron Stielstra) by the wheels of a car. Such a scene is enough to put a smile on the face on the gorno loving/Fulci worshiping crowd as it rivals the watermelon headed dummy deaths in 'The Toxic Avenger' movies. Furthermore, there is a great scene in which the carcass of mob boss Daddy Don Guido (Ronald Kaplan) is manipulated from behind and used as a human puppet. Though there might have been some camera trickery, Kaplan plays dead exceptionally well and the scene is sure to garner some laughs. Another key sequence is a thrilling car chase which plays out on a busy San Jose street. This scene looks especially dangerous and one has to wonder how many laws had to be broken to capture it on film.
'A Bird in the Bush' is overall very well made and looks quite professional (save for some brief instances of horrendously shaky camera work and some poor audio in a few scenes). Though some of the humor is at times lame or clichéd (perhaps intentionally),'A Bird in the Bush' triumphs over the horrid discharge that makes up this country's mainstream comedy cannon. One standard romantic comedy cliché the film manages to subvert however is in its pairing of Grant and Babs. Usually the typical romantic comedy predictably ends with the perfect smart,and incredibly hot chick falling in love with your standard Adam Sandler/ Will Ferrell character despite the fact that he is either a complete jerk or retarded. 'A Bird in the Bush', does not end in such a fairly tale manor. Instead, the film proves that two perfectly flawed (and equally screwed up) characters can, in the end live together peacefully--if not entirely happily ever after (as is usually the case in real life).
I came into 'A Bird in the Bush' with somewhat mixed expectations. The trailer did not appear overly impressive as it looked like just a mere imitation of your average mainstream rom-com. Additionally, the film's director himself claimed (perhaps jokingly) that I would hate the movie. Not very encouraging. Nevertheless I was pleasantly surprised by 'A Bird in the Bush': a sleek thriller with plenty of twists and turns and of course, laughs. What makes the film all the more engaging however is the fact that it was shot guerrilla style. A good portion of the excitement and laughter comes from the fact that the people and locations in this film are dead real. Though this may not be one of the directors best efforts, 'A Bird in the Bush' proves one thing: this Fredianelli fellow certainly has balls.
'A Bird in the Bush' with its sleek 102 minute running time is a fun ride from beginning to end. Full of action and suspense, there is nigh a dull moment in this flick. Some particular highlights include the poetic (and brutal) death of a hobo (Aaron Stielstra) by the wheels of a car. Such a scene is enough to put a smile on the face on the gorno loving/Fulci worshiping crowd as it rivals the watermelon headed dummy deaths in 'The Toxic Avenger' movies. Furthermore, there is a great scene in which the carcass of mob boss Daddy Don Guido (Ronald Kaplan) is manipulated from behind and used as a human puppet. Though there might have been some camera trickery, Kaplan plays dead exceptionally well and the scene is sure to garner some laughs. Another key sequence is a thrilling car chase which plays out on a busy San Jose street. This scene looks especially dangerous and one has to wonder how many laws had to be broken to capture it on film.
'A Bird in the Bush' is overall very well made and looks quite professional (save for some brief instances of horrendously shaky camera work and some poor audio in a few scenes). Though some of the humor is at times lame or clichéd (perhaps intentionally),'A Bird in the Bush' triumphs over the horrid discharge that makes up this country's mainstream comedy cannon. One standard romantic comedy cliché the film manages to subvert however is in its pairing of Grant and Babs. Usually the typical romantic comedy predictably ends with the perfect smart,and incredibly hot chick falling in love with your standard Adam Sandler/ Will Ferrell character despite the fact that he is either a complete jerk or retarded. 'A Bird in the Bush', does not end in such a fairly tale manor. Instead, the film proves that two perfectly flawed (and equally screwed up) characters can, in the end live together peacefully--if not entirely happily ever after (as is usually the case in real life).
I came into 'A Bird in the Bush' with somewhat mixed expectations. The trailer did not appear overly impressive as it looked like just a mere imitation of your average mainstream rom-com. Additionally, the film's director himself claimed (perhaps jokingly) that I would hate the movie. Not very encouraging. Nevertheless I was pleasantly surprised by 'A Bird in the Bush': a sleek thriller with plenty of twists and turns and of course, laughs. What makes the film all the more engaging however is the fact that it was shot guerrilla style. A good portion of the excitement and laughter comes from the fact that the people and locations in this film are dead real. Though this may not be one of the directors best efforts, 'A Bird in the Bush' proves one thing: this Fredianelli fellow certainly has balls.
A No-Budget, Comedic Success
moviefreak14413 May 2011
Written, produced, edited, directed, and starring Michael Fredianelli; A Bird in the Bush is a no-budget comedy/romance/action hybrid that despite various imperfections and extreme budget restraints works remarkably well for much of it's 102-minute running time. Having seen two movies directed by Fredianelli (the other being "The Minstrel Killer), it's clear that he's a capable director (and editor) even with such little to work with and here, he has miraculously fashioned a funny, entertaining film. With a bigger budget, a better camera, and some script polishing; this would have been quite something. As it is now, it's still quite good.
Grant Oldman (Fredianelli) is an out-of-work college professor and bird expert, desperately searching for a job. Barbra "Babs" Bridges (Jana Ireton) is a newly minted car thief, desperately trying to acquire some cash. After hitting Grant with her stolen car, he convinces her to pose as his wife for a dinner interview he has later that night. Despite her own problems, she obliges him. Beginning with the interview, a series of misadventures lead the two to be running from both the F.B.I. and the mob due to the key witness in a mob boss' trial (cinematographer Michael Nosé) being in the trunk of Babs' stolen car.
So, what works about it? Fredianelli and Ireton have a nice rapport together, which I credit with keeping the entire film afloat. I actually liked these two characters and the way their relationship developed so much that I would have almost preferred a more straight-forward narrative that didn't introduce mobsters halfway through. With that said, the film does succeed on its own terms rather than mine. The movie is genuinely funny, with low-brow, politically incorrect humor that will go anywhere for a laugh and yet, even at it's most forced, usually succeeds admirably. When two children confront Grant and Babs, one of the children, referring to his brother next to him, says "When our dad hits us, Roth hits back." Few stereotypes escape this film untouched, but even when Babs' father tells Grant "John Wayne was a fa--ot" and Nosé dresses up as a gorilla it somehow works.
It's actually more quirky, more inventive, and much better than a lot of comedies we see coming out of Hollywood. How is it that Jason Friedberg and Aaron Seltzer are able to get high budgets to make their "comedies" yet Fredianelli has to make his films on significantly less than a teacher's yearly salary? Even with the occasional amateurish acting/dialogue delivery and various contrivances in the script, this movie still boasts better acting while being legitimately funnier than anything those two have ever made.
As a director, Fredianelli handles the action and comedic material splendidly. There's a car chase sequence that's actually really impressive considering everyone involved was likely using their own cars and had to (essentially) obey traffic laws. Fredianelli has not only impressed me as a director but as an actor, showing a knack for comedic timing and physical comedy. Additionally, it's a complete departure from his role in The Minstrel Killer, both physically and otherwise showing substantial range. Many of the funniest moments in the film come from the witty, rapid-fire banter between characters and the ending, although extremely sappy, is perfect and one of the best parts of the film. Even Nosé's is impressive considering he clearly had little control over the composition of the shots (lighting, consistency, etc.).
It's imperfections are not due to budgetary constraints. The screenplay is uneven and some scenes are forced and unnecessary (I seem to be one of the few viewers that didn't enjoy the flatulent hobo). Other times, the dialogue sounds too "written" and not just because of the poor delivery by some of Fredianelli's non-actors. It does hide its intentions to go over-the-top, but the humor still seems contrived at times. Finally, the characterization of Babs is all over the place. Her character having a psychological disorder does not excuse the fact that she initially appears to Grant and remains with him not because logic dictates her to, but because the plot needs her to.
It's a sad statement about Hollywood when an unknown director with no stars and no budget can produce a better comedy than "Little Fockers," but that's exactly what Fredianelli has done here. A Bird in the Bush is a solid movie despite it's shortcomings and is a triumph of creativity, considering it's success against all the odds of it even being watchable. I don't know anyone who could make a coherent, entertaining, and mostly successful film with the few available means that Fredianelli has made work for him. With that said, if he ever reaches the big leagues, he could polish this script, remake it, and probably have a hit on his hands...It's truly that good.
GRADE: B
Grant Oldman (Fredianelli) is an out-of-work college professor and bird expert, desperately searching for a job. Barbra "Babs" Bridges (Jana Ireton) is a newly minted car thief, desperately trying to acquire some cash. After hitting Grant with her stolen car, he convinces her to pose as his wife for a dinner interview he has later that night. Despite her own problems, she obliges him. Beginning with the interview, a series of misadventures lead the two to be running from both the F.B.I. and the mob due to the key witness in a mob boss' trial (cinematographer Michael Nosé) being in the trunk of Babs' stolen car.
So, what works about it? Fredianelli and Ireton have a nice rapport together, which I credit with keeping the entire film afloat. I actually liked these two characters and the way their relationship developed so much that I would have almost preferred a more straight-forward narrative that didn't introduce mobsters halfway through. With that said, the film does succeed on its own terms rather than mine. The movie is genuinely funny, with low-brow, politically incorrect humor that will go anywhere for a laugh and yet, even at it's most forced, usually succeeds admirably. When two children confront Grant and Babs, one of the children, referring to his brother next to him, says "When our dad hits us, Roth hits back." Few stereotypes escape this film untouched, but even when Babs' father tells Grant "John Wayne was a fa--ot" and Nosé dresses up as a gorilla it somehow works.
It's actually more quirky, more inventive, and much better than a lot of comedies we see coming out of Hollywood. How is it that Jason Friedberg and Aaron Seltzer are able to get high budgets to make their "comedies" yet Fredianelli has to make his films on significantly less than a teacher's yearly salary? Even with the occasional amateurish acting/dialogue delivery and various contrivances in the script, this movie still boasts better acting while being legitimately funnier than anything those two have ever made.
As a director, Fredianelli handles the action and comedic material splendidly. There's a car chase sequence that's actually really impressive considering everyone involved was likely using their own cars and had to (essentially) obey traffic laws. Fredianelli has not only impressed me as a director but as an actor, showing a knack for comedic timing and physical comedy. Additionally, it's a complete departure from his role in The Minstrel Killer, both physically and otherwise showing substantial range. Many of the funniest moments in the film come from the witty, rapid-fire banter between characters and the ending, although extremely sappy, is perfect and one of the best parts of the film. Even Nosé's is impressive considering he clearly had little control over the composition of the shots (lighting, consistency, etc.).
It's imperfections are not due to budgetary constraints. The screenplay is uneven and some scenes are forced and unnecessary (I seem to be one of the few viewers that didn't enjoy the flatulent hobo). Other times, the dialogue sounds too "written" and not just because of the poor delivery by some of Fredianelli's non-actors. It does hide its intentions to go over-the-top, but the humor still seems contrived at times. Finally, the characterization of Babs is all over the place. Her character having a psychological disorder does not excuse the fact that she initially appears to Grant and remains with him not because logic dictates her to, but because the plot needs her to.
It's a sad statement about Hollywood when an unknown director with no stars and no budget can produce a better comedy than "Little Fockers," but that's exactly what Fredianelli has done here. A Bird in the Bush is a solid movie despite it's shortcomings and is a triumph of creativity, considering it's success against all the odds of it even being watchable. I don't know anyone who could make a coherent, entertaining, and mostly successful film with the few available means that Fredianelli has made work for him. With that said, if he ever reaches the big leagues, he could polish this script, remake it, and probably have a hit on his hands...It's truly that good.
GRADE: B
shockingly good
Aylmer19 September 2008
Ultra-low budget doesn't really hinder this crack Action-RomCom (?) from delivering plenty of old-fashioned hilarious goods. While the acting is decidedly uneven, ranging from high school kids who had to have been friends / siblings of the director to Shakespeare quality (the Frank Oz-ish mob boss guy is great), the film maintains a clear purpose and the right tone throughout.
Certainly the main thing that this film needed was some lighting - as the Peter Hyams natural-light look doesn't help in the long stretches of very dim and off-white balanced interior shots (meaning there's a pervasive orange hue to everything). Also, a good chunk of dialog in one scene is quite obviously out-of-sync. This sort of thing is just enough to make in inaccessible to the average discriminating viewer. Granted, a person like me understands these are probably due to budget constraints and a very rushed production scale (I heard the thing was made top-to-bottom in less than 2 months!), but that doesn't help an Indie film find an audience and this flick will likely vanish into obscuro-Indie hell like the rest of them.
However, what's amazing about the film is that it really delivers an interesting story and manages to gather up steam and seem fresh when it's of a totally done-to-death genre... and for no money to boot! This is at odds with most of his other "films", which usually boil down to the star wandering around shooting people. Supposedly on this one the director/star/producer/editor/keygrip/bestboy Fredianelli got in a lot of hot water with the local authorities for shooting without permits and insurance... and it's amazing what he (and some of the actors, anyway) accomplish with so little. Decidedly unprofessional but uncomfortably close, this film could very well prime the director for a go at the Festival circuit if he continues to improve upon his formula.
Certainly the main thing that this film needed was some lighting - as the Peter Hyams natural-light look doesn't help in the long stretches of very dim and off-white balanced interior shots (meaning there's a pervasive orange hue to everything). Also, a good chunk of dialog in one scene is quite obviously out-of-sync. This sort of thing is just enough to make in inaccessible to the average discriminating viewer. Granted, a person like me understands these are probably due to budget constraints and a very rushed production scale (I heard the thing was made top-to-bottom in less than 2 months!), but that doesn't help an Indie film find an audience and this flick will likely vanish into obscuro-Indie hell like the rest of them.
However, what's amazing about the film is that it really delivers an interesting story and manages to gather up steam and seem fresh when it's of a totally done-to-death genre... and for no money to boot! This is at odds with most of his other "films", which usually boil down to the star wandering around shooting people. Supposedly on this one the director/star/producer/editor/keygrip/bestboy Fredianelli got in a lot of hot water with the local authorities for shooting without permits and insurance... and it's amazing what he (and some of the actors, anyway) accomplish with so little. Decidedly unprofessional but uncomfortably close, this film could very well prime the director for a go at the Festival circuit if he continues to improve upon his formula.
Fredianelli plays it safe but entertains in spades
twolanebl4 August 2008
Warning: Spoilers
Michael Fredianelli's long-promised foray into romantic comedies somehow manages to simultaneously expand his oeuvre's scope while confirming his own unwillingness to completely separate himself from his bread and butter. Fredianelli stars as Grant Oldman, a wannabe academic who winds up entangled with a wild girl named Babs (Jana Ireton) after she hits him with a car. After some perfunctory romantic comedy narrative, the narrative swiftly heads into crimer territory with witnesses to mob hits, insane Italian caricatures (the boss' name is Daddy Don Guido), and feds swirling around the increasingly afflicted couple.
The romantic comedy material (the first third of the film) comes off with varying degrees of success. A scene in which Fredianelli haphazardly goes to a dinner interview with Babs works pitch perfect due to nice acting and sharp dialogue. The scene's a perfect marriage of Fredianelli's brand of cranky old man humor (it ends with a disgruntled man firing a gun at our fleeing protagonists, just like Run You Motherf-----!) and the romantic comedy regimen. Unfortunately, many of the attempts at humor fall a bit flat with even a flatulent hobo played by Aaron Stielstra grabbing laughs only in reference to Less Human than Human. The romance itself has a pretty legit build (even if a bit familiar) but flat lines somewhere in the second act, getting lost amid the crime plot developments.
The crime moments do pick up the narrative and the humor considerably, and the fast-paced madcap third act zip with some great humor, helped by a hilarious performance by the increasingly indispensable Michael Nosé as the endangered witness who finds himself caught up with Oldman and Babs. The crosscutting between the outrageous gangster characters, the feds, and the protagonists keeps the piece brisk, and Fredianelli gets some genuine somber moments amidst all the cartoon characters.
That's the problem with the film though. Does its definite success as a fairly tough action- comedy indicate issues with the romantic comedy storyline? The first third definitely has its share of laughs, but they all fit in more with the action comedy template of the last two- thirds of the film, which points out the weakness of the romcom elements all the more. With all of Fredianelli's decidedly politically incorrect humor (a running gag has characters saying Barbara Streisand is "too Jewish"), dummies flying off of parking structures seems to have little to do with the lovers by accident storyline.
To further mud up the tone, Fredianelli transitions into his trademark nihilism here and there with little setup, resulting in a fairly flat and uneven conclusion. Sure, it's nice to see the real world implications of the narrative played through, but it comes so full out of left field that it indicates either Fredianelli's inability (or unwillingness) to fully depart from his normal material or possibly a critique of the romantic comedy genre's tendency to ignore the ramifications of its characters' dilemmas.
If nothing else though, the film poses both a challenge to Fredianelli to tackle disparate material with less hesitation and an affirmation of his ability to make genre work within his framework, at his will. The work within multiple genres might not work completely, but the fact of the matter is that the pieces are still entertaining and different despite the occasional incongruity.
The romantic comedy material (the first third of the film) comes off with varying degrees of success. A scene in which Fredianelli haphazardly goes to a dinner interview with Babs works pitch perfect due to nice acting and sharp dialogue. The scene's a perfect marriage of Fredianelli's brand of cranky old man humor (it ends with a disgruntled man firing a gun at our fleeing protagonists, just like Run You Motherf-----!) and the romantic comedy regimen. Unfortunately, many of the attempts at humor fall a bit flat with even a flatulent hobo played by Aaron Stielstra grabbing laughs only in reference to Less Human than Human. The romance itself has a pretty legit build (even if a bit familiar) but flat lines somewhere in the second act, getting lost amid the crime plot developments.
The crime moments do pick up the narrative and the humor considerably, and the fast-paced madcap third act zip with some great humor, helped by a hilarious performance by the increasingly indispensable Michael Nosé as the endangered witness who finds himself caught up with Oldman and Babs. The crosscutting between the outrageous gangster characters, the feds, and the protagonists keeps the piece brisk, and Fredianelli gets some genuine somber moments amidst all the cartoon characters.
That's the problem with the film though. Does its definite success as a fairly tough action- comedy indicate issues with the romantic comedy storyline? The first third definitely has its share of laughs, but they all fit in more with the action comedy template of the last two- thirds of the film, which points out the weakness of the romcom elements all the more. With all of Fredianelli's decidedly politically incorrect humor (a running gag has characters saying Barbara Streisand is "too Jewish"), dummies flying off of parking structures seems to have little to do with the lovers by accident storyline.
To further mud up the tone, Fredianelli transitions into his trademark nihilism here and there with little setup, resulting in a fairly flat and uneven conclusion. Sure, it's nice to see the real world implications of the narrative played through, but it comes so full out of left field that it indicates either Fredianelli's inability (or unwillingness) to fully depart from his normal material or possibly a critique of the romantic comedy genre's tendency to ignore the ramifications of its characters' dilemmas.
If nothing else though, the film poses both a challenge to Fredianelli to tackle disparate material with less hesitation and an affirmation of his ability to make genre work within his framework, at his will. The work within multiple genres might not work completely, but the fact of the matter is that the pieces are still entertaining and different despite the occasional incongruity.
Fresh, funny, fantastic film from the underground!
ajji-226 August 2008
This is, hands down, one of the best productions from Wild Dogs, ever! Off-beat, quirky, and highly successful mix of humor, romance, action and adventure in this one, with a lean running time, to boot. Really, I was just gob-smacked by the film, and the way it always (ok, mostly) dodged the inevitable genre trappings with something unexpected or at least differently spun. My wife also tuned in, and we both laughed our asses off. If I was to be nit- picky, there were some parts that seemed to stretch out needlessly, or some that seemed undercooked, but when the overall package is this good, one can be generous. Mike Fredianelli, in his best performance yet, does a superb nebbish/nerdy character, and gets paired up with a sexy blonde who often keeps pace with his spot-on act. They also have a palpable chemistry between them, an essential ingredient which makes the central relationship seem credible and genuine (all this, without any gratuitous nudity or sex). The 2 detectives are also well-performed by the actors, and then there is that 'flatulent hobo', once again a short but sweet role for Aaron Steelydanextra , whose later 'trampling' scene is one of the hilarious highlights of the film. However, the one scene that had my sides splitting was the 'Vietnamese orphan' bit. My God! And Mr. Nose looked like a dead ringer for the Dalai Lama in that get-up. Sheer comedy genius. The film is peppered with many precise and perfectly timed comic moments, perhaps thrice as many as the average Hollywood 'comedy' (Sure enough, the next day I tried watching Meet The Spartans, only to turn it off after 15 minutes. Too bad more people have seen this turd-fest than have been lucky enough to witness Mike's home-grown effort, which shows 'em all how it's done. Hell, the outtakes from Mike's film were more enjoyable than those 15 minutes of MTS
).
Speaking of which, the missus was amazed when she realized I wasn't watching a mainstream film, but a film made by AND starring my friend Mike from San Jose! She hadn't recognized him, and was incredulous when she found out. The next evening, her cousin came over, and he was made to see this film on her insistence. More guffaws, more laughter, and more amazement followed. Mike, you've got one more admirer on your list now. And we intend to show this film around some more.
Kudos to all involved, even to the guy playing Daddy Don Guido, who didn't seem to be all there. Excellent production values also, considering the budget (or lack thereof). Oh, and this is probably the first WD film that doesn't warrant subtitles (nice clear audio). The bar has been raised yet again by WD, and it ain't gonna be easy topping it. But that don't mean you shouldn't try. As the guy says: "Think positive, man!"
Speaking of which, the missus was amazed when she realized I wasn't watching a mainstream film, but a film made by AND starring my friend Mike from San Jose! She hadn't recognized him, and was incredulous when she found out. The next evening, her cousin came over, and he was made to see this film on her insistence. More guffaws, more laughter, and more amazement followed. Mike, you've got one more admirer on your list now. And we intend to show this film around some more.
Kudos to all involved, even to the guy playing Daddy Don Guido, who didn't seem to be all there. Excellent production values also, considering the budget (or lack thereof). Oh, and this is probably the first WD film that doesn't warrant subtitles (nice clear audio). The bar has been raised yet again by WD, and it ain't gonna be easy topping it. But that don't mean you shouldn't try. As the guy says: "Think positive, man!"
The mafia chases two unexpected kidnappers through a parking garage and down the freeway. It ends with a game of chicken and a poor hobo that meets his demise 'Mad Max' style.
no_way_back12316 January 2010
Warning: Spoilers
Out-of-work college professor Grant Oldman (Michael Fredianelli) gets more than he bargains for when he brings an unknown woman (Jana Ireton) to pose as his wife for a dinner party. After a disastrous evening, Grant finds himself homeless and unemployed with the unwanted task of supervising his unstable date that has inadvertently kidnapped the key witness to a fatal mob massacre. With federal agents hot on their trail, they must escort the witness to safety and escape the city before the mafia can execute its deadly plans.
A very good film, if you have a chance, watch it! There's a trailer of it on you tube.
A very good film, if you have a chance, watch it! There's a trailer of it on you tube.
"Straight up is fine."
KingM2117 October 2008
Throughout his impressive filmography, Michael Fredianelli has always been willing to mix-and-match genres within individual features, but I cannot recall "romantic comedy" ever really being at the forefront like it was in A Bird in the Bush. The story, about the awkward relationship of a neurotic loser (and titular "bird," destined for capture or companionship, or perhaps both) and an unbalanced blond (Jana Ireton, in a strong performance) whose serendipitous pairing leads them from an innocuous husband-and-wife ruse (gone wrong in the most amusing of ways) all the way to being on the run from low-rent mafia killers with a crime witness in tow, is somewhat reminiscent of True Romance, only with a deeper level of characterization in the leads and more slapstick, un-pc humor, and oddball antics. Even the mob boss, Daddy Don Guido (delightfully caricatured by Ronald Kaplan), seems to be channeling a less homosexual version of Saul Rubinek's angry persona from that Tony Scott flick. Aaron Stielstra's brief role as the Flatulent Hobo (a powerful part he seemed born to play) would leave anyone in stitches, including his dummy double, who suffers reckless abuse in several hilariously unexpected scenes (one of which being an expectedly rousing car chase). It was also nice to see Michael Nosé (among other Wild Dogs regulars) back in action, especially in one inspired bit where he was trying to pass himself off as a Vietnamese orphan.
A Bird in the Bush is not the kind of film I typically seek out but it goes in so many quirky directions -be it the dramatic exchange between Babs, her hateful mother and enabling father or glass-pane carriers avoiding disaster during the aforementioned chase sequence only to unluckily slip on a shiny penny- that it's hard not to be thoroughly entertained by it.
The DVD includes a few good trailers and some funny outtakes, plus a bonus short in the form of a revealing "hobo" documentary. Let's just say that there are some strange human breeds out West there. Sadly, the short is all too short; I can definitely see a full-length Fredianelli doc on this profound subject matter striking it big with fans and hoopties alike.
A Bird in the Bush is not the kind of film I typically seek out but it goes in so many quirky directions -be it the dramatic exchange between Babs, her hateful mother and enabling father or glass-pane carriers avoiding disaster during the aforementioned chase sequence only to unluckily slip on a shiny penny- that it's hard not to be thoroughly entertained by it.
The DVD includes a few good trailers and some funny outtakes, plus a bonus short in the form of a revealing "hobo" documentary. Let's just say that there are some strange human breeds out West there. Sadly, the short is all too short; I can definitely see a full-length Fredianelli doc on this profound subject matter striking it big with fans and hoopties alike.
Momentum And Laughter And Teardrops
HughBennie-77720 July 2008
A departure from the romantic comedy genre these days means either a comedy packed full of bottomburps and boobies, or, worse, a nauseating, sentimental "relationship" comedy, with obligatory bottomburps, graphic sex, etc. included to entice wary male viewers. Something akin to the Judd Apatow excretion "Knocked Up" fulfills the latter category. Here, Director Michael Fredianelli achieves a proper balance between vulgarity and laughs, but also includes plenty of solid action and even violence to punctuate this story about a hopeless ornithologist and his sexy, bipolar companion as they flee gangsters and psychotic U.S. Marshals--one of whom goes by the name of Terry.
The movie's opening benefits from some excellent pacing, great soundtrack music (including a brilliant section of Herbie Hancock's "Chameleon"), nicely exposed photography, lots of brisk characterization--with Grant Oldman's failed job interview being a highlight--and audio that captures the subtle and not so subtle comedic moments. A surprising yet tragic encounter with a hobo only adds to the overall surprises the movie has to offer in its shifts in tone. Fredianelli is not afraid to explore themes of loneliness and mental illness amidst all the on screen lunacy, but actor Aaron Stielstra physically embodies substance-abuse and bewilderment perfectly.
Grant meets his reluctant partner-in-madcap-escapades, Babs, and the following hilarious visit with her dysfunctional family presents an even broader spectacle of humor vrs. drama. Babs's soft-spoken, homophobic father, who mutters things like, "John Wayne was a f-ggot." delivers a performance as chilling as it is sympathetic. Soon after, the chases begin. The subplot involving a government witness testifying against mobsters, unfortunately, carries little tension despite its importance to the story, but it does enable a supremely chaotic car chase that is a marvel of speed and gags, one involving a pane of glass that is highly creative. The numerous sound cues ("Invasion U.S.A."?) only add to the suspense, as well. Too bad the over-exposure in many of the movie's exterior shots extends from here on to the end. This also accompanies some more dramatic stretches that drain the movie of its original stamina.
One extended fight scene features impressive choreography and nice, fat sound design, while another subplot featuring a bumbling, Nick Nolte-resembling henchman with a penchant for slipping on bars of soap diverts from some of the unwelcome sentimentality starting to creep into the movie. The Nick Nolte-resembling henchman's line of "Barbara Streisand...I hate that b-tch! Way too Jewish!" had the dollar theater audience I saw the movie with rolling in the sticky aisles.
Speaking of filth, there's plenty of lurid color and undesirable elements to recommend the movie as well: several corned-beef-and-malt-liquor-consuming drifter types shine in their motel-room cameo, as does a fine-ass black prostitute. A morbid mob boss puppet sequence involving a corpse had the grindhouse in hysterics, as did the graphic squashing of a hobo beneath two speeding vehicles. Some inappropriate inserts from the Ding Dong Hellon epic, "A Decision To Choose To Ask Why" on a cheap t.v. created an interesting subtext to an aborted sex scene. Director Fredianelli even felt compelled to ape the great directors of Italian poliziotteschi by plundering chase footage from his earlier film, "Pale Blue Balloons", not unlike a young Unberto Lenzi. Also commendable is the amount of time the movie's stars spend prostrate on disgusting cheap motel-room floors, or wrapped up in unhygienic bed-spreads. I hope the movie was insured for scabies.
As the video exposure and sound quality tend to fluctuate during the movie's more diluted last 25 minutes, so do the more annoying performances--most of them having been regimented to smaller scenes earlier. The movie's mob boss is so over-the-top and vocally strangulated, it's uncomfortable to even contemplate his diaphragm amid all the spasmic line deliveries. Luckily, the movie's other heavies and cowardly underlings fill their shoes gracefully. The movie's romantic leads are both attractive and surprisingly good in their emoting between comedy and drama, with the bipolar subtext to Babs's character being burden enough without the movie's final scene demanding that both characters cry like absent truants from "The Breakfast Club". The movie's flimsy allegiance between Grant and Babs makes it hard for Michael Nose, as the government witness, to do much but complain, then flee, then don a gorilla suit, repeat ad infinitum. His performance as a Vietnam orphan-canine is one of the funniest moments in the movie, though. Movie's weepy last line, unfortunately, had many drunken patrons in the audience throwing bottles and cans at the screen, but there were more people staggering out of theater with tears in their eyes as well. Whether these were shed out disappointment that the theater management was ejecting the patrons after an 8 hour movie marathon is impossible to determine. A promised double-feature of a Ding Dong Hellon film and Aaron Stielstra's "Less Human Than Human" was cancelled only hours before.
Movie has exactly 178 potato sacks in its action sequences, be they involving gunplay, fight choreography or merely elderly parents being abused. I recommend Fredianelli bring up the volume on most of them, as they were sadly understated. Overall, a comedy like this, with so many expectations for itself, fulfills plenty. Myself and one ghetto audience in Cortez Heights, AZ. ate up Fredianelli's work, with few complaints. Though there were were several shrieks and bottomburps.
The movie's opening benefits from some excellent pacing, great soundtrack music (including a brilliant section of Herbie Hancock's "Chameleon"), nicely exposed photography, lots of brisk characterization--with Grant Oldman's failed job interview being a highlight--and audio that captures the subtle and not so subtle comedic moments. A surprising yet tragic encounter with a hobo only adds to the overall surprises the movie has to offer in its shifts in tone. Fredianelli is not afraid to explore themes of loneliness and mental illness amidst all the on screen lunacy, but actor Aaron Stielstra physically embodies substance-abuse and bewilderment perfectly.
Grant meets his reluctant partner-in-madcap-escapades, Babs, and the following hilarious visit with her dysfunctional family presents an even broader spectacle of humor vrs. drama. Babs's soft-spoken, homophobic father, who mutters things like, "John Wayne was a f-ggot." delivers a performance as chilling as it is sympathetic. Soon after, the chases begin. The subplot involving a government witness testifying against mobsters, unfortunately, carries little tension despite its importance to the story, but it does enable a supremely chaotic car chase that is a marvel of speed and gags, one involving a pane of glass that is highly creative. The numerous sound cues ("Invasion U.S.A."?) only add to the suspense, as well. Too bad the over-exposure in many of the movie's exterior shots extends from here on to the end. This also accompanies some more dramatic stretches that drain the movie of its original stamina.
One extended fight scene features impressive choreography and nice, fat sound design, while another subplot featuring a bumbling, Nick Nolte-resembling henchman with a penchant for slipping on bars of soap diverts from some of the unwelcome sentimentality starting to creep into the movie. The Nick Nolte-resembling henchman's line of "Barbara Streisand...I hate that b-tch! Way too Jewish!" had the dollar theater audience I saw the movie with rolling in the sticky aisles.
Speaking of filth, there's plenty of lurid color and undesirable elements to recommend the movie as well: several corned-beef-and-malt-liquor-consuming drifter types shine in their motel-room cameo, as does a fine-ass black prostitute. A morbid mob boss puppet sequence involving a corpse had the grindhouse in hysterics, as did the graphic squashing of a hobo beneath two speeding vehicles. Some inappropriate inserts from the Ding Dong Hellon epic, "A Decision To Choose To Ask Why" on a cheap t.v. created an interesting subtext to an aborted sex scene. Director Fredianelli even felt compelled to ape the great directors of Italian poliziotteschi by plundering chase footage from his earlier film, "Pale Blue Balloons", not unlike a young Unberto Lenzi. Also commendable is the amount of time the movie's stars spend prostrate on disgusting cheap motel-room floors, or wrapped up in unhygienic bed-spreads. I hope the movie was insured for scabies.
As the video exposure and sound quality tend to fluctuate during the movie's more diluted last 25 minutes, so do the more annoying performances--most of them having been regimented to smaller scenes earlier. The movie's mob boss is so over-the-top and vocally strangulated, it's uncomfortable to even contemplate his diaphragm amid all the spasmic line deliveries. Luckily, the movie's other heavies and cowardly underlings fill their shoes gracefully. The movie's romantic leads are both attractive and surprisingly good in their emoting between comedy and drama, with the bipolar subtext to Babs's character being burden enough without the movie's final scene demanding that both characters cry like absent truants from "The Breakfast Club". The movie's flimsy allegiance between Grant and Babs makes it hard for Michael Nose, as the government witness, to do much but complain, then flee, then don a gorilla suit, repeat ad infinitum. His performance as a Vietnam orphan-canine is one of the funniest moments in the movie, though. Movie's weepy last line, unfortunately, had many drunken patrons in the audience throwing bottles and cans at the screen, but there were more people staggering out of theater with tears in their eyes as well. Whether these were shed out disappointment that the theater management was ejecting the patrons after an 8 hour movie marathon is impossible to determine. A promised double-feature of a Ding Dong Hellon film and Aaron Stielstra's "Less Human Than Human" was cancelled only hours before.
Movie has exactly 178 potato sacks in its action sequences, be they involving gunplay, fight choreography or merely elderly parents being abused. I recommend Fredianelli bring up the volume on most of them, as they were sadly understated. Overall, a comedy like this, with so many expectations for itself, fulfills plenty. Myself and one ghetto audience in Cortez Heights, AZ. ate up Fredianelli's work, with few complaints. Though there were were several shrieks and bottomburps.
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