"Scott Storm has the most natural talent of any filmmaker I know." - Bryan Singer
Scott Storm continues to be an under-appreciated creative variable in the States. Despite carrying a major award with his first feature at the Slamdance Film Festival some years ago, it has taken this long to realize his follow-up, a guerrilla indie production with the brand of TEN TIL NOON.
While the title evokes images of a classic western, the picture is actually a dark examination of a single ten minute segment of one very bad day for a random group of seemingly amoral inhabitants of the City of Angels. While the film has yet to secure distribution beyond the festival circuit, it is crafty, violent and delightfully offensive in certain scenes. You could say that they don't make them like this anymore. Despite grander ambitions from the outset, Storm, Paul Osborne and their collaborators have accomplished uniquely commercial production values despite the complete absence of an "A-List" cast or reasonable project capitalization. In fact, the filmmakers en masse are to be commended for realizing a no-budget independent film ON FILM (as opposed to digital video) with intelligent sound design and yet another fine original score by the similarly underrated Joe Kraemer.
Given the current industry prejudice against this type of independent film, your first opportunity to see TEN TIL NOON may be through AMAZON, STARZ late-night programming or NETFLIX. Despite the naysayers, this film is very much part and parcel of the Tarantino oeuvre, and if you like 'em lean, mean and bloody, TEN TIL NOON is worth your time and attention.
Scott Storm continues to be an under-appreciated creative variable in the States. Despite carrying a major award with his first feature at the Slamdance Film Festival some years ago, it has taken this long to realize his follow-up, a guerrilla indie production with the brand of TEN TIL NOON.
While the title evokes images of a classic western, the picture is actually a dark examination of a single ten minute segment of one very bad day for a random group of seemingly amoral inhabitants of the City of Angels. While the film has yet to secure distribution beyond the festival circuit, it is crafty, violent and delightfully offensive in certain scenes. You could say that they don't make them like this anymore. Despite grander ambitions from the outset, Storm, Paul Osborne and their collaborators have accomplished uniquely commercial production values despite the complete absence of an "A-List" cast or reasonable project capitalization. In fact, the filmmakers en masse are to be commended for realizing a no-budget independent film ON FILM (as opposed to digital video) with intelligent sound design and yet another fine original score by the similarly underrated Joe Kraemer.
Given the current industry prejudice against this type of independent film, your first opportunity to see TEN TIL NOON may be through AMAZON, STARZ late-night programming or NETFLIX. Despite the naysayers, this film is very much part and parcel of the Tarantino oeuvre, and if you like 'em lean, mean and bloody, TEN TIL NOON is worth your time and attention.