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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