#Poser debut review movie
Also See: Sound of Violence Is a Stunning Debut Īt what point does imitation stop being flattering? When does curation become culture vulture appropriation? When do derivative works transcend their origin as copies and become a distinct entity in their own right? When even genius steals, what hope is there for the rest of us?Īll of the above are interesting questions lurking between the lines of all of the varied textures and tones at play here, and it is unfortunate the movie fails to address any of them beyond their most superficial implications. Poser seems confused in both its thesis statement, and in regard to which audience of moviegoers with which it is attempting to connect.
Even considering the very slow build in establishing setting, the performance scenes of the featured musicians are rather brief, and are not as effective a musical showcase as they could have been. Some of the movie’s pokes at the nature of indie creative scenes seem more pointed mockery than loving homage, the main character is a frustrating blank, and the climax of the film lacks any convincing narrative arc or dramatic weight. A last second injection of Single White Female also fails to land with much emotional heft. Poser doesn’t fulfill its hinted at thriller leanings until the last 20 minutes of the film, and when it finally does become All About Eve for the VSCO set, it feels like far too little and way too late. In a narrative populated by such thinly drawn personalities, even the script’s equally reductive characterization of Kitten as manic pixie dream front woman feels like a glass of ice water on a hot day. Wolf’s sartorially interesting silence) snatches the film right out from under its top billed star. Bobbi’s charming presence (and her partner Z. Accordingly, the film stalls out hitting the same basic narrative beats over and over again through the middle section without any real sense of rising tension.Īll of this waiting around ends up a showcase for Bobbi Kitten’s abundant natural charisma. Lennon is never given enough shading in to be the slightest bit sympathetic as an antihero, but is meekly prevented from any high octane villainy for the majority of the runtime. Sylvie Mix’s performance isn’t terrible, but Lennon is so underdeveloped as a protagonist that it is hard to see any actor really nailing the role. Also See: Five Disturbingly Obsessive Horror Movie Characters We never get much backstory regarding Lennon or her deeper motivations, other than a few sparse scenes of her boring day job and clearly strained relationship with her family.
This is primarily a character study of a character and setting that has already crystallized into trope. The film takes too long to establish very familiar territory, both in terms of the incestuous nature of close knit local art scenes, and in Lennon’s unhealthy habit of bolstering her own fragile self image via mimicry (and eventual outright theft) of the creative work and personality traits of others. There is more than enough sonic material to make for an excellent compilation/soundtrack album, even if it’s a super limited edition vinyl pressing just to keep things on brand. Appearing as themselves are previously mentioned dance rockers Damn The Witch Siren, and the melancholy synth pop trio WYD, amongst others. Poser has polished visual style to spare, and as would be expected from such a musically fueled film, a great soundtrack of buzzy local acts to accompany it.
#Poser debut review free
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