Who is Jim Cummings? An up-and-coming generalist (director, actor, scribe, composer and editor) emerging from US indie cinema, with already 4 features under his directorial belt. A golden boy blessed with tradition good looks and Waspish appeal, Cummings makes a splash with his second feature THUNDER ROAD in 2018, a wiggy comedy about grieve and parenting, expanded from his 2016 one-take short of the same name, which is followed by THE WOLF OF SNOW HOLLOW (2020) and THE BETA TEST (2021), venturing into two vastly different genres: werewolf horror and digital-age conspiracy. After that he lends his presence in Francis Galluppi's debut feature THE LAST STOP IN YUMA COUNTY (2023), a high-concept neo-Western sneering at America's gun violence, countrified cupidity and lawlessness.
In THUNDER ROAD, Cummings plays police officer Jim Arnaud, who is whacked by a double whammy of his mother's passing and a nasty custody battle (although he isn't mean-spirited, aiming for a joint custody in spite of his lawyer's incredulity), whose career and personal paths veer to a cul-de-sac as his sober days are over and his anger issue escalates. Cummings kills the opening gambit, a re-enactment of his short but with a difference (without the titular Bruce Springsteen's song), which underlies a cracker-barrel kookiness that is both disarming and bewildering (you may start to question Jim's sanity). However, the about-face between teary-eyed and maintaining a strong face is too comical to register any deeper sympathy, a tic which Cummings seems to curb in his later projects.
Drollness aside, THUNDER ROAD commits steadfastly to canalize Jim's seething anxiety and rage via Cummings' farcical and somehow bumptious mannerism (a scene between Jim and Macon Blair, who plays the teacher of Jim's daughter, is quite a capper of losing-it). It lands on its feet as Jim ironically regains the custody of his daughter Crystal (Farr, balancing out Cummings' clodhopping attitudinizing with an air of natural nonchalance) when all seems lost, not to mention that unorthodox slap. Cummings gingerly treads the fine line between misogyny and trashing an unworthy mother.
Cummings' deputy sheriff John Marshall in SNOW HOLLOW is embroiled in a similar bind. A member of the sandwich generation, John juggles between heeding to his ailing father, Sheriff Hadley (Forster, in one of his last roles), who is beset with a death-dealing heart problem, and walking a tightrope with his college-ready daughter Jenna (East), as he endeavors to mend their frosty relation after his divorce. Meantime, the sleepy ski town is plagued by a series of grisly murders apparently at the hand of a werewolf. Actually, John is the one who roundly rebuffs such hogwash since the onset, even audience is tricked to believe so (the monster literally shows its beastly figure when dispatching the second victim). With the significant help from the punctilious Detective Julia Robson (Lindhome), John will catch the culprit after the cases are closed, the last-minute revelation is a time-honored trope Cummings has no intention to cast aside.
For all its genre conventions, SNOW HOLLOW is shy of a roller-coaster ride and spookiness. Like THUNDER ROAD, it pivots on its protagonist's pressurized anguish and the dreadful sense of everything is getting out of his hand. But Cummings appears to be treading water here. All the blood-splatting, snow-bound visual onrush only leaves a sweeping impression that the film, compared with THUNDER ROAD, is less praiseworthy,
THE BETA TEST, co-written, co-directed and co-starred with PJ McCabe, ditches the small-town insularity to the Hollywoodland infested with eroticism, spousing-icing menace and darknet sinisterness. Sleek and silver-tongued Jordan Hines (Cummings), a high-flying (seemingly so) Hollywood agent, is about to get hitched with Caroline Gaines (Newcomb). While trying futilely to woo a Chinese mogul (Wilky Lau, who cannot pose as an echt Chinese as his mandarin is very poor, by extension, the film's portrayal of Chinese is rather distasteful), Jordan caves in to an anonymous letter luring him to a tryst in a hotel room. He is further intrigued by the mysterious woman with whom he has an amazing sex in blindfold.
When the letter stops, Jordan's life begins to turn topsy-turvy as he goes off the deep end to scope out who is behind all the shenanigans. Only the explanation leaves much to be desired. Jordan is completely tongue-tied when the malefactor mouths off about the all-knowing infiniteness of internet and the culpability of unscrupulous ciphers like him who can remotely manipulate and extort others like nobody's business. Like Jordan, Cummings and McCabe's film is unable to retort, as though the script doesn't know how to lacerate such enormity, nor it sheds enough light on the practicalities of operating a scam so grand. When Jordan finally comes clean to Caroline, and vice versa, scarcely anything has changed in the lie of the land. Sad to say, THE BETA TEST winds up as a nonevent although one can begrudgingly acknowledge Cummings' endeavor to branch out.
THE LAST STOP IN YUMA COUNTY is a no-frill situation thriller. Waiting for a gas station's pumps to be refueled, a motley of characters are marooned in a diner abutting the station. Among others, there are two bank robbers, Travis and Beau (Logan and Brake), with the plunder still lying inside the trunk of their car, a kitchen knife salesman with no name (Cummings) and Charlotte (Donahue), the diner's sole employee. Random local customers including an unknowing police officer Gavin (a baby-faced Paolo), the gas station attendant Vernon (Love) and an Indian ranger Pete (Proudstar). "You will die for our rhubarb pie", that is an ominous catchphrase.
The tension eventually leads to a deadly Mexican standoff which involves 5 guns shooting among sundry parties, leaving the salesman the only survivor (not before he must put his knife into good use). Will he inform the police or abscond with the money? The film comes off as a telling exemplum of how easy avarice can corrupt even a decent soul (the salesman is again, a single father en route to see his young daughter). Think on his foot, the salesman is compelled to rub out two unfortunate passersby and avoids the pursuit of the grieving sheriff (Abbott Jr.), who is Charlotte's husband. Imagine, what good outcome could that brings? YUMA COUNTY is a lean, highly entertaining fare that suggests Galluppi might have a better place in the sun than Cummings apropos of manufacturing genre works.
Through the tetralogy, Cummings the actor has successfully established a unique persona: high-strung, angst-ridden, incoherently gabby when he is nervous, all grafted upon the substratum of a fairly ordinary human being. He is most magnetizing when he brazens himself out of an embarrassment. However, behind the camera, Cummings' craft has yet to be differentiable from other journeymen in the field. Although the jury is still out as it is far too early to predict Cummings’ futurity, one simply hope his final destination is not a jack of all trades and master of none.
referential entries: Lawrence Michael Levine's BLACK BEAR (2020, 6.2/10); Josephine Decker's SHIRLEY (2020, 7.6/10); Michael Sarnoski’s PIG (2021, 7.2/10); Emma Seligman’s SHIVA BABY (2020, 7.5/10); Carter Smith’s THE PASSENGER (2023, 6.8/10).
Who is Jim Cummings? An up-and-coming generalist (director, actor, scribe, composer and editor) emerging from US indie cinema, with already 4 features under his directorial belt. A golden boy blessed with tradition good looks and Waspish appeal, Cummings makes a splash with his second feature THUNDER ROAD in 2018, a wiggy comedy about grieve and parenting, expanded from his 2016 one-take short of the same name, which is followed by THE WOLF OF SNOW HOLLOW (2020) and THE BETA TEST (2021), venturing into two vastly different genres: werewolf horror and digital-age conspiracy. After that he lends his presence in Francis Galluppi's debut feature THE LAST STOP IN YUMA COUNTY (2023), a high-concept neo-Western sneering at America's gun violence, countrified cupidity and lawlessness.
In THUNDER ROAD, Cummings plays police officer Jim Arnaud, who is whacked by a double whammy of his mother's passing and a nasty custody battle (although he isn't mean-spirited, aiming for a joint custody in spite of his lawyer's incredulity), whose career and personal paths veer to a cul-de-sac as his sober days are over and his anger issue escalates. Cummings kills the opening gambit, a re-enactment of his short but with a difference (without the titular Bruce Springsteen's song), which underlies a cracker-barrel kookiness that is both disarming and bewildering (you may start to question Jim's sanity). However, the about-face between teary-eyed and maintaining a strong face is too comical to register any deeper sympathy, a tic which Cummings seems to curb in his later projects.
Drollness aside, THUNDER ROAD commits steadfastly to canalize Jim's seething anxiety and rage via Cummings' farcical and somehow bumptious mannerism (a scene between Jim and Macon Blair, who plays the teacher of Jim's daughter, is quite a capper of losing-it). It lands on its feet as Jim ironically regains the custody of his daughter Crystal (Farr, balancing out Cummings' clodhopping attitudinizing with an air of natural nonchalance) when all seems lost, not to mention that unorthodox slap. Cummings gingerly treads the fine line between misogyny and trashing an unworthy mother.
Cummings' deputy sheriff John Marshall in SNOW HOLLOW is embroiled in a similar bind. A member of the sandwich generation, John juggles between heeding to his ailing father, Sheriff Hadley (Forster, in one of his last roles), who is beset with a death-dealing heart problem, and walking a tightrope with his college-ready daughter Jenna (East), as he endeavors to mend their frosty relation after his divorce. Meantime, the sleepy ski town is plagued by a series of grisly murders apparently at the hand of a werewolf. Actually, John is the one who roundly rebuffs such hogwash since the onset, even audience is tricked to believe so (the monster literally shows its beastly figure when dispatching the second victim). With the significant help from the punctilious Detective Julia Robson (Lindhome), John will catch the culprit after the cases are closed, the last-minute revelation is a time-honored trope Cummings has no intention to cast aside.
For all its genre conventions, SNOW HOLLOW is shy of a roller-coaster ride and spookiness. Like THUNDER ROAD, it pivots on its protagonist's pressurized anguish and the dreadful sense of everything is getting out of his hand. But Cummings appears to be treading water here. All the blood-splatting, snow-bound visual onrush only leaves a sweeping impression that the film, compared with THUNDER ROAD, is less praiseworthy,
THE BETA TEST, co-written, co-directed and co-starred with PJ McCabe, ditches the small-town insularity to the Hollywoodland infested with eroticism, spousing-icing menace and darknet sinisterness. Sleek and silver-tongued Jordan Hines (Cummings), a high-flying (seemingly so) Hollywood agent, is about to get hitched with Caroline Gaines (Newcomb). While trying futilely to woo a Chinese mogul (Wilky Lau, who cannot pose as an echt Chinese as his mandarin is very poor, by extension, the film's portrayal of Chinese is rather distasteful), Jordan caves in to an anonymous letter luring him to a tryst in a hotel room. He is further intrigued by the mysterious woman with whom he has an amazing sex in blindfold.
When the letter stops, Jordan's life begins to turn topsy-turvy as he goes off the deep end to scope out who is behind all the shenanigans. Only the explanation leaves much to be desired. Jordan is completely tongue-tied when the malefactor mouths off about the all-knowing infiniteness of internet and the culpability of unscrupulous ciphers like him who can remotely manipulate and extort others like nobody's business. Like Jordan, Cummings and McCabe's film is unable to retort, as though the script doesn't know how to lacerate such enormity, nor it sheds enough light on the practicalities of operating a scam so grand. When Jordan finally comes clean to Caroline, and vice versa, scarcely anything has changed in the lie of the land. Sad to say, THE BETA TEST winds up as a nonevent although one can begrudgingly acknowledge Cummings' endeavor to branch out.
THE LAST STOP IN YUMA COUNTY is a no-frill situation thriller. Waiting for a gas station's pumps to be refueled, a motley of characters are marooned in a diner abutting the station. Among others, there are two bank robbers, Travis and Beau (Logan and Brake), with the plunder still lying inside the trunk of their car, a kitchen knife salesman with no name (Cummings) and Charlotte (Donahue), the diner's sole employee. Random local customers including an unknowing police officer Gavin (a baby-faced Paolo), the gas station attendant Vernon (Love) and an Indian ranger Pete (Proudstar). "You will die for our rhubarb pie", that is an ominous catchphrase.
The tension eventually leads to a deadly Mexican standoff which involves 5 guns shooting among sundry parties, leaving the salesman the only survivor (not before he must put his knife into good use). Will he inform the police or abscond with the money? The film comes off as a telling exemplum of how easy avarice can corrupt even a decent soul (the salesman is again, a single father en route to see his young daughter). Think on his foot, the salesman is compelled to rub out two unfortunate passersby and avoids the pursuit of the grieving sheriff (Abbott Jr.), who is Charlotte's husband. Imagine, what good outcome could that brings? YUMA COUNTY is a lean, highly entertaining fare that suggests Galluppi might have a better place in the sun than Cummings apropos of manufacturing genre works.
Through the tetralogy, Cummings the actor has successfully established a unique persona: high-strung, angst-ridden, incoherently gabby when he is nervous, all grafted upon the substratum of a fairly ordinary human being. He is most magnetizing when he brazens himself out of an embarrassment. However, behind the camera, Cummings' craft has yet to be differentiable from other journeymen in the field. Although the jury is still out as it is far too early to predict Cummings’ futurity, one simply hope his final destination is not a jack of all trades and master of none.
referential entries: Lawrence Michael Levine's BLACK BEAR (2020, 6.2/10); Josephine Decker's SHIRLEY (2020, 7.6/10); Michael Sarnoski’s PIG (2021, 7.2/10); Emma Seligman’s SHIVA BABY (2020, 7.5/10); Carter Smith’s THE PASSENGER (2023, 6.8/10).
生活伦理推理片。其实是讲网络智能化后对人类的判断，投其所好，又被有些别有用心的人利用，变成了他们赚取钱财的工具，利用人们在现实生活工作中压抑，自己伪装自己多么成功的压力，为他们寻找刺激，猎奇寻找匹配的对象，一旦有人上钩，对猎奇对象产生了兴趣，就利用对方信息敲诈巨额的钱财。有时还会通过发布信息，造成家庭矛盾杀人灭口。真是觉得蛮可怕的，在刑事犯罪高发的西方和米国这真的会演变成一场可怕的灾难，让凶案多发，真正的凶手隐于人后，不易察觉。
故事的一开头是一个女子报警说有可能要有一个家庭惨案要发生，结果她向丈夫坦白了一切后，丈夫用刀捅了女子，然后将她从高楼推下。我想是应该女子也收到了这样的一封邀请她去接受一次艳遇的机会，事情发生后，她比较后悔，向丈夫坦诚了一切，丈夫忍受不了才杀死了她。紧接着就是影片的男主，他是一个好莱坞的广告策划，就快要结婚了。但是他在生活里，老是觉得各种各样的靓女对他有意思。但是工作一团糟，以为很是繁荣的策划公司，却没什么生意。好不容易来了一个中国的合作伙伴，却对他爱理不理，让他非常苦恼。于是他收到邀请信后就去赴约，一场艳遇后，他状态很好，变得不一样了。但是当他感兴趣了，再次去到那个房间，早就人去楼空。他想查阅酒店的开房记录，酒店不允许。于是他又假冒警察去查送信人的监控录像，发现送新人后，他去查问，也没有问出所以然。他把此事告诉了好朋友，好朋友就把网络现在会对人们经常点击的领域进行汇总分析，对人们感兴趣的领域进行推送，广告宣传，制造商机。可能是男主关注了一些色情敏感的话题，让网络感知了，就投其所好，就行匹配，造成了这样的艳遇。说的很实际，让男主怀疑这事就是好友做的，好友无言以对。最后男主发现邀请函的信封比较特殊，就又冒充警察去查探信封的制造商，终于查到了这个信封是哪个地址要的，于是男主按图索骥，终于找到了发出邀请函的电商，原来电商就是通过网络匹配，投其所好，发出邀请函，当人感兴趣时，再索要高额信息费的公司，因为男主没有收到索要信息费的函件所以才没有被敲诈。男主想狠狠教训这个电商的，但是电商报了警。男主只得逃跑。遇到未婚妻后，他把所有的事都说了，但是妻子好像也知道这一切，还是她亲自勾选的。说不准是未婚妻的安排都说不准。里面还有两起凶案，一起是中国投资商的tongxing之夜，最后被妻子枪杀，还有两个黑人之间好像也是这个缘故，妻子将丈夫毒杀。看来这样的家庭凶案都有始作俑者，只是我们没有察觉，这样的凶案愈演愈烈，对每一个家庭都是一种威胁啊！
第一段没有字幕，男主的语速又太快，一直到男主开始丝剥茧地探寻一切真相，所有的故事慢慢铺开，还是蛮精彩的。蒙面女子身材很好。总体对于这个邀请函的探究过程还是蛮细致的，悬疑也够，感觉还是不错的。大家有没有想过，也有可能是家庭的另一方，想要杀掉另一方，才在网络上订购了这样的艳遇，让另一方上钩呢！这也蛮可怕的。要不是男主角有点神经质，看上去又像吸血鬼，有点出戏，也许分会更高一些。