Robinson Devor

Robinson Devor

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Zoo Review


Very Good
Making a film about something as sickeningly taboo as bestiality is risky, to say the least. Assume the filmmaker gets past the criticism of tackling such subject matter. Then he can revel in titillation and exploitation for widespread attention; or, he can attempt an artistic, less controversial execution and attract a more limited audience. With Zoo, writer-director Robinson Devor chooses the latter, creating a bizarre, moody entry that's part documentary, part drama.

You wouldn't think cinematic style would overwhelm such a powerful choice of topics, but that's the case. Borrowing liberally from the great Errol Morris (The Thin Blue Line, The Fog of War), Devor has a spooky artistry and odd narrative approach, an avant-garde sense that practically hypnotizes. Zoo is full of carefully structured visuals, with actors often playing the roles of real people. The camera sweeps smoothly and deliberately across landscapes and along meandering roads. Players stand within well-composed images, the world seemingly in slow motion. It's peaceful and dreamlike, but frightening as hell -- an ideal presentation for a film about intimacy between humans and horses.

Continue reading: Zoo Review

The Woman Chaser Review


OK
Early incarnation of Patrick Warburton as movie star, The Woman Chaser's title evokes a beach party flick but is actually a noir/parody by way of David Lynch. Which is not quite as enthralling as it sounds. Warburton (ex of Seinfeld) doesn't chase women so much as sell cars to rubes then try his hand in the movie biz. His script idea: well, it's something about a vengeance after a kid gets run over. Shot on color film and transferred to black and white -- that's about how authentic a noir The Woman Chaser ends up. Not bad, but it's about as successful at evoking Sam Spade as The Man Who Wasn't There. The film's sound, by the way, is atrocious.
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