***SPOILERS*** In the no-budget world of Public Access, one often contents oneself with intimations of talent: lacking loot, the driven wannabe filmmaker struggles against impossible odds to write, direct or produce SOMETHING of value (perhaps nothing of "lasting value," but certainly something marginally entertaining, at the very least). Likewise, the low budget, indie filmmaker is struggling to entertain or enlighten us. If said IF (Indie Filmmaker) strikes cinematic gold, we get a CARNIVAL OF SOULS or a NIGHT OF THE LIVING DEAD or a CLERKS or a BLAIR WITCH PROJECT [the greatest Public Access movie ever made], and our miserable lives are thereby enriched. The would-be autuers who fall far short of the mark are legion in number. Somewhere between the two lies the promising newcomer whose innate talent may one day elevate him/her to greater heights.
Like newcomer Bryan Johnson.
VULGAR, best summed up, perhaps, as SHAKES THE CLOWN meets DELIVERANCE (without the humor evinced in the former, which is VULGAR's greatest, most glaring failing), is worth seeing. Yes, Vulgar sucks- but the movie doesn't. There's quite a bit of talent on display here. Maybe not breathtaking, awe-inspiring cinematic slight of hand, but certainly some genuine storytelling ability. And that's what movies- especially the little ones, at THIS end of the spectrum- are all about.
Like newcomer Bryan Johnson.
VULGAR, best summed up, perhaps, as SHAKES THE CLOWN meets DELIVERANCE (without the humor evinced in the former, which is VULGAR's greatest, most glaring failing), is worth seeing. Yes, Vulgar sucks- but the movie doesn't. There's quite a bit of talent on display here. Maybe not breathtaking, awe-inspiring cinematic slight of hand, but certainly some genuine storytelling ability. And that's what movies- especially the little ones, at THIS end of the spectrum- are all about.