6.7 | / 10 |
Users | ![]() | 0.0 |
Reviewer | ![]() | 4.0 |
Overall | ![]() | 4.0 |
A hopeful young starlet uncovers the ominous origins of the Hollywood elite and enters into a deadly agreement in exchange for fame and fortune.
Starring: Alexandra Essoe, Amanda Fuller, Noah Segan, Fabianne Therese, Shane CoffeyHorror | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1 (48kHz, 16-bit)
English: LPCM 2.0 (48kHz, 16-bit)
English SDH
25GB Blu-ray Disc
Single disc (1 BD)
Region A, B (C untested)
Movie | ![]() | 3.5 |
Video | ![]() | 4.0 |
Audio | ![]() | 4.5 |
Extras | ![]() | 3.0 |
Overall | ![]() | 4.0 |
People often refer to success in Hollywood as "selling one's soul", but what if the purchaser is
only interested in souls of a certain caliber? What if one has to audition for damnation? That is
the intriguing premise behind Starry Eyes, an independent horror film from the writing and
directing team of Kevin Kölsch and Dennis Widmyer, whose Kickstarter campaign received a
boost from Fight Club author Chuck Palahniuk, the
subject
of their 2003 documentary,
Postcards from the
Future. But the film's revelation is its previously unknown star, Alex Essoe,
whose performance as an aspiring actress paints an unsettling portrait of the extremes to which
frustrated ambition can drive someone who seems, on the surface, utterly harmless.
Starry Eyes was shot in eighteen days, and its flat, often monochromatic cinematography is a
deliberate choice by the filmmakers to shroud sunny L.A. in a miasma of doom and gloom, the
way it must look to so many starving actors who can't make their rent and whose careers are
going nowhere. But when things get really bad, Kölsch and Widmyer don't let budgetary
constraints hold them back. Their star went above and beyond the call of duty to give them
graphic footage for which you'll not find screen captures accompanying this review, because they
would spoil the plot.
Starry Eyes was shot on Red by Adam Bricker (Jake
Squared) and finished on a digital
intermediate, from which MPI's 1080p, AVC-encoded Blu-ray was presumably sourced.
Directors Kölsch and Widmyer confirm in their commentary that the flat, dull, almost
monochromatic image is exactly what they wanted for the film, and they consider themselves
lucky that all of their outdoor shooting days were "blessed" with rainy, overcast weather (a rarity
for L.A., especially in the drought of recent years). A few colors stand out, notably red and green,
because these will take on special significance (and greater intensity) later in the film. But the
overall dullness is intentional, because this is how Los Angeles appears from Sarah's point of
view, at least when we first meet her.
Despite the drabness and lack of depth, the image is sharp and detailed so that, for example, the
individual strands of hair that Sarah pulls from her head during her bouts of self-mutilation are
readily visible, as are the practical effects that mark the changes in Sarah as her association with
Astraeus Pictures deepens. The ridiculous "uniform" that Sarah wears for work, the managerial
bric-a-brac on Carl's desk and the elaborate furnishings of the Producer's several homes are all
visible, even without the benefit of an elaborate color palette.
MPI has placed this 96-minute film on a BD-25, resulting in an average bitrate of 18.002 Mbps,
which is somewhat low, even for digitally acquired material. Between the letterbox bars, the
limited color and a large number of still scenes in which Sarah is staring quietly at either her own
reflection or another person, the compressionist has achieved acceptable results. The only artifact
is some occasional light banding, which is so brief that it probably won't be noticed by most
viewers.
Since Starry Eyes is told entirely from Sarah's point of view, the 5.1 sound mix, encoded in
lossless DTS-HD MA, is subjective and non-realistic, sometimes dropping out all but a few
effects, at other times raising the volume of specific sounds that Sarah finds frightening or
disturbing. Stereo separation and surround effects are pronounced, e.g., at a party with Tracy's
friends, where one of the guests is DJ'ing, and his voice shifts around the room as Sarah and the
camera move. A second audition for Astraeus Pictures involves a mysterious process that
suggests both a physical and spiritual X-ray, with bright flashes of light, quick cuts of images and
strange sounds from all around. Subtler environmental cues appear in audition rooms, in the
Producer's various homes and at Big Taters. Dialogue is clearly reproduced.
The score by Jonathan Snipes (Room 237) is very different
from what the directors originally
imagined for Starry Eyes, but their commentary explains how they were introduced to Snipes and
persuaded to try a synth-based score, which they came to feel better suited the film's spooky
tone.
Starry Eyes is a small film elevated by a big performance. It draws on familiar tropes and themes
but reinvents them as it goes along so that, when it explodes in a bloody mess, the violence has a
visceral impact beyond the sheer body count. It isn't the evil of Astraeus Pictures that ends up
being frightening (in many ways, the Astraeus clan is almost comical). It's the evil they draw to
them. Original and highly recommended.
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