Bereft of major financial resources, possibly experience, and maybe even skill, sometimes filmmakers can nevertheless achieve more with imagination, heart, and hard work than the biggest household names with all the benefits of major studio backing. The first impression this feature makes is that it is definitely low-budget, and for both that and relative inexperience- this was the filmmaker's first full-length feature - the artifice definitely shines through at many points, both in the acting and direction. Yet even at that, the second impression 'Crime wave' makes in little time at all is that it's so wonderfully offbeat and original that any concerns about abject quality are washed away by how marvelously funny and enjoyable it is. It's such a wonderfully weird ride that I can easily understand how it won't appeal to all comers. For those who are receptive to all the wide possibilities of the medium, however, this is a fabulously creative oddity that all but demands to be seen!
There are some broad notions here that are normal enough. We get echoes of the anthology film, and a story about a struggling writer; we get narration provided by and events more or less depicted from the perspective of a daydreaming young girl who doesn't necessarily understand everything about the adult world, and who illustrates fascination with unlikely things. We have some aesthetics of the 1980s, including violence, mixed with the storytelling sensibilities (for the dominant narrative of the framing) of three or four decades' past, and what often feels like the kindred style of rather over the top direction and acting. Now put all this together with an absence of any dialogue for the struggling writer, stories for that would-be anthology that may present with no more than just one or two beats thereof, tinges of sci-fi and horror that would feel right at home in a Cronenberg flick, and some of the most wholly inventive, outrageous, and downright deranged comedy that I think I've ever seen. It's true, perhaps, that filmmakers who have worked with studios have every now and again managed to whip up something that was so also far-flung and bizarre as this is, yet as a viewer it's impossible to fathom that this could have existed outside its very indie, low-budget, almost amateur level of operation. And for that we should be eternally grateful.
Whatever the participants here lacked in experience, or possibly skill, they more than made up for with wholehearted enthusiasm and commitment. This mostly speaks to the acting, where Neil Lawrie especially stands out with his wide-eyed performance as supporting character Dr. Jolly; there are also maybe times when John Paizs' capabilities as a filmmaker show an earlier stage of development. Yet none of this particularly matters in the first place and rather fits in given the zany nature of the "narrative" and its structure, and similarly, the picture is so commendably well done on its chosen level that the otherwise strength it exhibits picks up the slack from any perceived shortcoming. Though simple and straightforward by most any point of comparison, the earnestness of contributions like stunts, effects, and art direction, definitely including the props, lend to the off-kilter verisimilitude. The production values are modest, but it's clear Paizs had the cooperation and good will of friends and neighbors in addition to a small cadre of able professionals to bring his wild, unique vision to life. With Randolph Peters' wide-ranging music adding to the cornucopia of flavors, the viewing experience can perhaps be likened to a taste-testing session that includes both Ben & Jerry's ice cream and various wines, as we bounce from one delightfully curious idea to another.
The premise seems fairly ordinary, yet the directions and extremes to which Paizs teased out every thought lead to bewilderment and entertainment far beyond what this may look like from the outside looking in. It was rather by chance that I stumbled across this but I couldn't be happier that I did, for the end result is a strange, stupendous journey well surpassing any expectations I might have had. Given the peculiar approach to the plot, the throwback ethos, and the almost homegrown craftsmanship, I can certainly see how it won't meet with equal favor for all potential viewers; I'd be lying if I said that wouldn't have included myself at one time. Much more than anything else, however, this is defined by the sheer joyful whimsy of the feature and the fun-loving spirit that come across in every last element, and with that, I think most anyone would find something to love about 'Crime wave.' It's quirky, for sure, but that's exactly what it's such a great time - this is a hidden gem that's well worth checking out, and I'm pleased to give it my very high recommendation!
There are some broad notions here that are normal enough. We get echoes of the anthology film, and a story about a struggling writer; we get narration provided by and events more or less depicted from the perspective of a daydreaming young girl who doesn't necessarily understand everything about the adult world, and who illustrates fascination with unlikely things. We have some aesthetics of the 1980s, including violence, mixed with the storytelling sensibilities (for the dominant narrative of the framing) of three or four decades' past, and what often feels like the kindred style of rather over the top direction and acting. Now put all this together with an absence of any dialogue for the struggling writer, stories for that would-be anthology that may present with no more than just one or two beats thereof, tinges of sci-fi and horror that would feel right at home in a Cronenberg flick, and some of the most wholly inventive, outrageous, and downright deranged comedy that I think I've ever seen. It's true, perhaps, that filmmakers who have worked with studios have every now and again managed to whip up something that was so also far-flung and bizarre as this is, yet as a viewer it's impossible to fathom that this could have existed outside its very indie, low-budget, almost amateur level of operation. And for that we should be eternally grateful.
Whatever the participants here lacked in experience, or possibly skill, they more than made up for with wholehearted enthusiasm and commitment. This mostly speaks to the acting, where Neil Lawrie especially stands out with his wide-eyed performance as supporting character Dr. Jolly; there are also maybe times when John Paizs' capabilities as a filmmaker show an earlier stage of development. Yet none of this particularly matters in the first place and rather fits in given the zany nature of the "narrative" and its structure, and similarly, the picture is so commendably well done on its chosen level that the otherwise strength it exhibits picks up the slack from any perceived shortcoming. Though simple and straightforward by most any point of comparison, the earnestness of contributions like stunts, effects, and art direction, definitely including the props, lend to the off-kilter verisimilitude. The production values are modest, but it's clear Paizs had the cooperation and good will of friends and neighbors in addition to a small cadre of able professionals to bring his wild, unique vision to life. With Randolph Peters' wide-ranging music adding to the cornucopia of flavors, the viewing experience can perhaps be likened to a taste-testing session that includes both Ben & Jerry's ice cream and various wines, as we bounce from one delightfully curious idea to another.
The premise seems fairly ordinary, yet the directions and extremes to which Paizs teased out every thought lead to bewilderment and entertainment far beyond what this may look like from the outside looking in. It was rather by chance that I stumbled across this but I couldn't be happier that I did, for the end result is a strange, stupendous journey well surpassing any expectations I might have had. Given the peculiar approach to the plot, the throwback ethos, and the almost homegrown craftsmanship, I can certainly see how it won't meet with equal favor for all potential viewers; I'd be lying if I said that wouldn't have included myself at one time. Much more than anything else, however, this is defined by the sheer joyful whimsy of the feature and the fun-loving spirit that come across in every last element, and with that, I think most anyone would find something to love about 'Crime wave.' It's quirky, for sure, but that's exactly what it's such a great time - this is a hidden gem that's well worth checking out, and I'm pleased to give it my very high recommendation!