Rewriting Mallory – A Short Film Review
Rewriting Mallory is an excellent short film that takes the audience on an emotional rollercoaster. From start to finish, this short film was thoroughly enjoyable and highly recommended.
What is it about?
Mallory’s rewrite follows the lives of two people who struggle to stay in control amid the messy realities of an unpredictable life. Joshua, a young man grieving after the death of his sister, turns to writing as a means of processing his emotions. Mallory, a young woman who always seems to be one step behind, finds her life crashing down in front of her one terrible day. As their paths cross, we have to wonder: are we really the authors of our own stories?
Director Emerson Adams has created an intimate film that can truly touch the audience on an emotional level that not many films can. The general plot of the short film is not something that hasn’t been done before, but the way it is captured makes it novel. I really enjoyed how Adams played with the narrative of the plot and found it very effective, even if it was a bit predictable by the time the real twist occurred. Overarching themes of human relationships, grief and healing through creativity sing across the screen. You’ll be thinking about it long after the credits roll.
Emerson Adams managed to establish the story when it would be very easy to take the film in a more fantastical direction. I like how they controlled the character of the film and I think it really helps keep it from becoming too corny. The sci-fi elements are not thrown in your face and are gracefully presented in such a way that the short flows well. Adams kept everything tight and I think it really pays off. The camera comes in close when needed, but at the same time Adams is confident enough to bring the camera back and let the scene breathe. Adams presents a fun short film with a real heartfelt message. Adams and director of photography Vy Tran deserve praise for their excellent cinematography.
Visually, this film is a treat. We jump from scene to scene, covering many well presented scenes while the crew is sensitive to detail. It’s these little details that really make the difference in these indie shorts. Setting up the scene and making it believable is very important for the viewer’s immersion. A great shot selection helps keep the story moving, but when the moments call for it, don’t be afraid to stop for a moment and let the audience feel the raw emotions of the actors. I found this to be superbly done and really elevates the film on an emotional level. If I had to be picky, I could have asked for a little more color in certain scenes, a few drops of brightness, especially in the more pleasant moments, could have enhanced the experience a bit. But overall, Willow Richeson is to be commended for the set design.
The performances in “The Rewrite of Mallory” are commendable, with the actors giving strong and believable portrayals of their respective characters. In particular, Jonathan Erwin shines as Joshua, capturing the depth of his grief and vulnerability, while Tammy Sanow lends sympathetic qualities to the title character, Mallory. The supporting cast, including Lucy Borchers, Bryson Schultz, Timothy J. Cox, and Zach Holt, also deliver solid performances, adding layers to the story and contributing to the film’s overall effectiveness. Overall, the performances in “Rewriting Mallory” are outstanding, showcasing the cast’s talent and commitment to bringing the characters and their experiences to life.
“Rewriting Mallory” is well paced and makes the most of its twenty minute running time. While we don’t rush from scene to scene, the plot is always moving, naturally revealing its layers as the story progresses, giving the audience time to process the actors’ emotions on each journey.
The soundtrack plays an important role in this short film. The film is able to highlight some scenes effectively with sound, heightens the emotions and creates an excellent atmosphere. From the most uplifting moments to the most depressing situations, the soundtrack helps the viewer in the immersive experience. A good team of people worked behind the scenes on the sound and it really comes through. Commendable work by all involved.
Tammy Sanow does a great job as Mallory. She manages to portray a wide range of emotions convincingly, from strong and determined to vulnerable and depressed. Tammy gives us an authentic performance that resonates with the audience. Sanow shows real depth in his performance.
Jonathan Erwin plays Joshua. Jonathan gives a seemingly natural performance that lends depth and authenticity to his character. He effectively conveys Joshua’s emotional struggle, allowing the audience to feel his pain and connect with him. Erwin’s ability to balance vulnerability with restraint shows his talent as an actor. His performance captures the complexity of Joshua’s role as storyteller and grieving individual, immersing viewers in the character’s journey of self-discovery and healing.
Bryson Schultz plays Mallory’s disappointed friend. Given his limited screen time, Bryson gives a convincing performance. He is able to convey his frustration and disappointment to the audience with some great facial expressions on screen, highlighting the complex emotions that the relationship evokes. His performance may be slight, but it adds tension to the story and helps build the overall narrative.
Timothy J. Cox plays Mallory’s boss. Cox confidently conveys the cruel nature of the business. She makes the most of her limited screen time by delivering a memorable character, balancing a sassy performance for Mallory while also showing a reflective, more forgiving side.
Overall Rewriting Mallory is an excellent short film. A well-written story, accompanied by fine direction, intelligent production, well-used cinematography and a brilliant cast make the film’s perfect ingredients. The film is balanced and well thought out. Great use of sound and set means it is both visually and aurally appealing to the audience. A true testament to the hard work of the cast and crew. It definitely paid off.
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