Davidson Cole’s first entry, a caliginous but entirely desultory story, follows a fractured and tandem outline whereby chance is on a high enabler, and reason has been all but muted.The story’s classification falls into the always-iffy category of separate character storylines that all tie together in the end. Cole, who writes, directs and stars in the lead role, orients his structure in a far more haphazard manner, relying on the audience’s flat-out unconcern or lack of interest in the way things are strung together. What does appear to interest Cole, or consume his time, is the amount After-Effects that are added in post-production — multi-frames within a frame, discolorations, and other “tricks” that pollute the canvas of the screen. Other examples of his disregard for the form are seen through the constant exacerbating jostle of the camera, split-second edits, and the poorly lit images.
With Jennifer Morrison, Mary Kay Cook, Edward Cunningham and Daniel J. Travanti.[Not to be bothered with.]