Super Dark Times (2017) [Blu-ray]
Drama | Thriller
A harrowing but meticulously observed look at teenage lives in the era prior to the Columbine High School massacre, SUPER DARK TIMES marks the feature debut of gifted director Kevin Phillips, whose critically acclaimed 2015 short film "Too Cool For
School" premiered at the Cannes Film Festival. Zach (Owen Phillips) and Josh (Charlie Tahan) are best friends growing up in a leafy Upstate New York suburb in the 1990s, where teenage life revolves around hanging out, looking for kicks, navigating first
love and vying for popularity. When a traumatic incident drives a wedge between the previously inseparable pair, their youthful innocence abruptly vanishes. Each young man processes the tragedy in his own way, until circumstances grow increasingly complex
and spiral into violence. Phillips dives headlong into the confusion of teenage life, creating evocative atmosphere out of the murky boundaries between adolescence and adulthood, courage and fear, and good and evil.
Storyline: Teenagers Zach and Josh have been best friends their whole lives, but when a gruesome accident leads to a cover-up, the secret drives a wedge between them and propels them down a rabbit hole of escalating paranoia and
violence.
Reviewer's Note: Reviewed by Sheila O'Malley on September 29, 2017 -- A strong and specific mood can cover up a multitude of sins in a film. Mood can hypnotize an audience, scare them, capture them in a rhythm and not let them
go. In Super Dark Times, director Kevin Phillips, in his feature film debut, creates a mood from the opening shot, a mood sustained wonderfully well, even if the third act moves into cliched territory. What matters in Super Dark Times is not
what happens. We've seen it all before. What matters is how it happens, and how the landscape-a picturesque New England town-seeps into the characters' psyches as a kind of cold and lonely malaise. If you just heard the plot points, you might think you
know what Super Dark Times is. It's a story of adolescent boys, virginal and frustrated, whose latent violence (a direct result of repression) leads to a tragedy and then a frantic cover-up. But Super Dark Times has something different to
offer, a dark and wintry mood so oppressive that even the treetops look ominous, sentinels looking down unfeelingly on the follies of man. Super Dark Times has a deeply unnerving mood, more unnerving than "what happens."
The film takes place in the early 1990s, already a lost era, with fuzzy static on the television, landline telephones with antennae, and-most importantly-groups of bored teenagers with lots of free time having to entertain themselves. Zach (Owen Campbell)
and Josh (Charlie Tahan) are best friends, first seen looking through a yearbook and drooling over their female classmates, bragging about the various sex acts they would do with them if they had the chance. The script is by Ben Collins and Luke
Piotrowski, but the dialogue is a rough and improvisational. They feel like real boys. Zach and Josh hang out with a younger kid in middle school (Sawyer Barth) and a big obnoxious kid named Daryl (Max Talisman). They don't do much. They ride their bikes
to a convenient store. They wander around, talking about masturbation and girls (their lack of experience blaring off the screen like a bullhorn). They swear a lot, in a self-conscious performative way. Nobody has after-school activities. They're all
latchkey kids. One day, after smoking weed for the first time, they play around in a deserted park with a gleaming sword, stolen from the bedroom of Josh's older brother who's now in the Marines. Things get horribly out of hand with that sword and someone
ends up dead.
What follows is out of the "What Not To Do" playbook, but what elevates Super Dark Times above similar fare is its devotion to the harrowing emotional fallout of such an event. These young actors are phenomenal in their ability to go as deep as
they do. Screaming and crying and shouting, they never feel like little psychos. They feel like panicked, pimpled boys, which they are. With each scene, the boys look younger and more vulnerable. Zach is the center of the film. He lives alone with his
mother (Amy Hargreaves, who just played a similar role in Netflix's 13 Reasons Why). Perhaps the clearest indication that Super Dark Times does not take place in 2017 is her blase reaction to her son's busted-up knuckles. "You'd better clean
that," she says. Zach has a sweet friendship with a girl named Allison (Elizabeth Cappuccino), who is clearly interested in him and begging him (nonverbally) to do something about it, but he doesn't know how to make a pass. Their scenes together are
wonderfully subtle.
Phillips (and cinematographer Eli Born) use the landscape to tell the story. White church spires peek above the treetops, the little ranch houses are cozy. But if you look beyond the surface-and Phillips and Born do-there's something very weird about this
town. Even before the main event occurs, there are subtle and not-so-subtle indications that something is very, very wrong. A huge bridge is closed off, the kind of bridge providing access to the world outside. Kids sneak out there to fool around on its
rusted decaying railings. There are dilapidated factories covered in graffiti. Parks and streets are empty. Where is everybody?
The film's opening sequence is a stunner, setting the mood that will carry the rest of the film: Static shots of trees silhouetted against cold blue light, empty lots, a school's windows reflecting the dying gleams of sunset. One of the windows is
smashed. Inside, lying in a pool of blood, is a gigantic antlered deer, body gasping for breath. It's a horrifying and unexplained event. The deer leapt through the window for unknown reasons. Nobody mentions it again, but the deer haunts Super Dark
Times. Everyone is in the process of self-destruction.
There are other weird glimpses. A kid in a soccer uniform races down a crowded school hallway, sobbing loudly, kids staring at him as he barrels past. A girl in the school library throws a tantrum and is tossed out. We never see these kids again, but they
add to the sense that something here is completely out of control. Clinton is president, seen making speeches on television. The myth is that it was a more innocent era. Pre-9/11. Pre-2008 economic crash. But like some of the films highlighted in Charles
Taylor's wonderful book Opening Wednesday at a Theater or Drive-In Near You (I interviewed Taylor for this site), Super Dark Times is a genre film that has things to say about the world in which we live, its emptiness and the chasm between cause
and effect. Bored kids lie on couches waiting for their distracted parents to get home, watching politicians on TV speak of opportunity and progress. There's a complete disconnect. These kids are scarily unmoored.
In Billy Wilder's famous rules for writers, #6 on the list is "If you have a problem with the third act, the real problem is in the first act." The third act issues in Super Dark Times-when everything comes to a head-can be traced back to the first
act, but, crucially, Phillips has done the important work of prioritizing mood over story. Because of this, the denouement does not ring as hollow as it might otherwise. Phillips has shown us a bleak world, an empty world, a world void of effective
adults, where children have nowhere to go and nothing to do but turn on one another, or cling to one another. There's no way out. The bridge is closed for good. It's decayed beyond repair.
[CSW] -1.9- This film takes place in the "pre-internet" era, which lends itself well to the pacing of the story. The overall mood tends to be dark and gloomy with little attempt at uplifting "coming of age" moments. The guilt and fear of the teens seemed
realistic, but the violent turn at the end was overdone and not really in line with the character's personality. But the bottom line is… save yourself from wasting your precious time and skip it.
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