ddzayson

I agree with the consensus. Burn the negatives. This is right up there with GIGLI as one of the absolute worst films ever made. I can hang with something like WEEKEND AT BERNIE'S which knows how dumb it is. But this... my god, I felt like I had just bathed in manure after watching it on HBO the other night. It made me feel icky and embarrassed and resentful all at once. I'm just amazed that, despite the clout of then-stars Ackroyd, Chase, and Candy, this POS ever was greenlit in the first place. It's an absolute trainwreck; NOTHING about it works! And again, other movies are actually humorous and a bit charming, even, because they are so flawed. SILENT NIGHT, DEADLY NIGHT comes to mind. And WEEKEND AT BERNIE'S too. But not this. This fails in every way imaginable.

Clearly, this video is not to be judged the same way a legitimate film would. It is aimed at young children. Still, I have over twenty younger cousins and spend many evenings growing up babysitting them and watching countless kids videos. This one was hands-down the corniest and most awful. Again, no one is going to expect great performances here, but this cast reeks of small town community theatre amateurism. The songs will get stuck in your head and make you want to run head first, at full speed, into a brick wall. Sure, little kids might be amused (although my cousins- even at very young ages- found it lame). But for anyone over the age of six, stay away from this garbage!

I walked into Analog Days not knowing quite what to expect. Its trailer displayed it as an update of sorts of Eric Bogosian's SuBurbia, featuring a group of young, small town twentysomethings struggling to find their place in the world. Not exactly summer blockbuster material, I should say.

Having seen it, I am happy to report that this film provides welcome relief from the mindless summertime drivel that true cinema lovers have been suffering through as of late. This is the kind of intimate character study that will likely win many admirers in the festival circuit and develop a cult following. The film is anchored by a wonderful and (hopefully) star-making performance from Ivy Khan. As Tammy, a shy film student, Khan breaks your heart with her nuanced, understated acting. Every reaction, every gesture is filled with insight into Tammy's inner world. Khan's performance contains a depth that is not often found from an actress of her age. It's always great to discover a talented newcomer, and Khan is sure to go on to bigger, more high-profile roles. She is truly a master of her craft.

Another winning performance comes from Ryan Johnsen as Fenster, who provides much of the film's comic relief. Like Khan, Johnsen avoids one-dimensional clichés in his work; opting instead to paint his portrait in tiny brush strokes.

This film succeeds because it refuses to give into conventional popcorn movie devices. Tammy's angst isn't easily solved by some third act solution. This is because writer/director Mike Ott understands that LIFE ITSELF isn't divided into scenes and acts. Instead, he offers a wonderful finale which offers the audience to draw their own conclusions. Let the record show that THIS audience member appreciates Mr. Ott's willingness to trust his viewers as intelligent filmgoers.