Four Eyed Monsters (2005): Film 2.0

My mind was working on a few different angles while watching this film just now. I saw the advertisement on YouTube and had the 70 minutes free time. Well, actually I was busy working on a wedding video and wanted a distraction – how apropos.

At once I will congratulate the creators on a job well done, an exceptional use of YouTube and media marketing, and an interesting “first date” story for the kids.

The story was a relatively simple one with a very “indie-feel”development. There was nothing too unexpected, though the touch of reality certainly holds to a current, popular interest. To that, knowing the whole story on how and why this film was created gives the audience a greater appreciation for the work as a whole. Having this uncommon insight in a film makes the story a great deal more interesting. The real story here is something more than what a trailer can summarize.

Four Eyed Monsters is a respectable résumé for its creators, Arin Crumley and Susin Buice. While a surface examination of the plot will demonstrate nothing unimaginably different, the 10,000 foot view shows us who Arin and Susan are. It develops a curious interest – celebrity – in the directors and stars of the film. It establishes a certain fondness and caring within its audience; we want to keep watching them and we want them to be well.

The first thing that struck me about the film was its descriptive use of cinematography. Each theme, though often unspoken, was presented in well-delivered visual allegory. I was reminded of “Hero” and the distinct use of color to deliver separate story lines throughout the film. As a résumé piece, this film generates a rich example of Crumley and Buice’s creative and technical work.

By the end of the film, I was in great appreciation for the presentation as a whole. The “rawness” of what the audience is allowed to see is fantastic. A tight sense of inclusion is with you throughout the story; as though you may know Arin and Susan. Maybe they just live in the area and you see them time-to-time. From introduction to closing comments, the audience is brought into the success or failures of the directors. Venues such as this allow for a progressive conversation from the community on all aspects of comments and the work itself. A Film 2.0, to be sure.

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