WATCH THE TRAILER HERE
First, the Recap:
In the moments, decisions are made. When facing those instances that could define us through the associated action or actions we determine are best, do we REALLY consider what outcomes are about to transpire? While much is unknown, the calculation we make in our heads as to how what’s about to happen will or will not benefit us remains intact. Hence, we move forward and simply attempt to flow with how it all unfolds. However, what occurs when the choice reveals a reality we weren’t anticipating?
Eddie (Mackenzie Proll) is not so happy with the world he sees around him. Feeling like an outcast in an uncaring society obsessed with its own success, he decides to go for drastic measures to “improve” his own situation. Marking a random woman named Margaret (Sophia Myles), Eddie makes his play via snatching her purse and making a run for it. But, what ensues isn’t only surprising–it’s unexpectedly, jarringly transforming.
Next, my Mind:
What do I adore about independent cinema? How about, at least for me, the absolute consistency experienced over the last soon-to-be eleven years of the genre’s ability to take that which we’ve seen before and discover a means to freshen it up a bit? That was the case again in viewing this 24-minute short film project from writer/director/producer/editor Dan Bronzite. Astutely and quite cleverly borrowing a generalized, underlying concept akin to films like “Big”, “Freaky Friday”, and “Face/Off”, employing a wonderfully chosen cast, and blending dramatic, thriller-esque elements with the fantastical, it’s an effort that grabs your attention, keeps it, and ultimately promotes a life-lesson that is honest, evocative, and in so may respects necessary. I often state things like those last notions when it comes to indie film, as it’s very NATURE is the relatability of the characters, situations, and narratives present, even if just in overall tone and intent.
Here, the narrative takes us on a path which sees a young man make a choice in the moment that not only ends up drastically affecting his and his victim’s lives, but to a degree, and in a manner, he never sees coming! How the sudden reality shift turns his worldview and attitude about what spurred him on from the start on its head is beautifully and very effectively portrayed. Allowing the moral of the core story to sink into your mind as the viewer, it’s a reminder of ideas spanning from “what if…”, “don’t ever judge a book by its cover”, “the grass is always greener..”, even to what it is to believe being from “the other side of the tracks” is automatically far worse than what those existing on “the good side of life” confront or endure. It’s the depth of societal commentary utilized here that’s deftly executed with just enough emphasis so as NOT to overwhelm the narrative or its other thematic ventures.
Additionally, for this critic, it brings to mind an image I saw once showing a tree in all its majesty but then also a cutaway view of the ground BENEATH the tree, where it’s roots extent FAR beyond what we only SEE on the SURFACE. The accompanying caption with the image hits the nail on the head, stating first “what we see” followed but “what we DON’T see” and equating it to people’s individual lives and how we’re so quick to think we KNOW someone when the truth is we may not ACTUALLY know ANYTHING about them or their REAL circumstances. This transcends the to readily assumptive judgements we assign to others and again, how this film chooses to address this is simply profound and captivating to me. There is even some very touching and comedic instances present, winding down to a pivotal moment of impact in the finale that solidifies the narrative’s entire course with thundering resonance.
Patterns of abuse, being discontent with the perception of our own station in life, and the grander essence of assumptive behaviors and mindsets are several more of the thematic forays the film chooses to address, doing so with enough relevant punch to, again, not overshadow its primary gist along the way, but rather add supplemental layers to the story’s purpose and hence impactful delivery. I had fond recollections of watching Myles initially through one of her most recognized roles, that of the vampire Erika in “Underworld: Evolution”, as well as her turns in “Tristan & Isolde”, “Moonlight”, and “A Discovery of Witches”. So, it was honestly refreshing to see the veteran actress in a straightforward but intensely dramatic role via her role as Margaret, a woman whose entire life is about to be altered in unimaginable ways–even if she might never actually end up knowing it.
Caught off guard by a would-be purse snatcher who’s mad at the “high life” she supposedly represents to him, Margaret’s very being gets an overt shift upon pursuing the thief. Frankly, this is about all I can say in DETAIL, as any more would truly end up in the “spoiler zone” that I desperately attempt to avoid at all costs in reviews. But, let me therefore state that based on the events that unfold and their drastic affect on the characters in play, Myles does an absolutely enthralling job at capturing the volatile mix of anger, then perplexing, then revelation being experienced through her, a portrait of unbelief being transformed into utter realization, deeper understanding, and softening vulnerability while likewise being adamantly steadfast in both hopelessness and building anger that boils over at just the precise moment it needs to. It’s a adept performance that this critic feels deserves notice alone based on exactly HOW Myles needed to enact the role and the subsequently fantastic way she portrays the circumstances in play.
Similarly, and yet in a completely unique way that stands on its own, Proll excels through his role here as Eddie, a young man totally at odds with a reality he resides within that sees himself as just some “poor sod” while watching the “upper crust” cruising about their lives, oblivious to anything but their own perceived self-interest. Fed up and agitated with it all, Eddie makes a decision to steal something from a woman he spots, absconding with her purse and making his getaway. But, when a eerily surreal event upends everything Eddie felt he was “accomplishing” by this act, he gets thrust into a completely alternate actuality that more than puts a new viewpoint not only on his actions, but his entire comprehension of what he thought he knew vs. the turbulent, eye-opening truths he learns. How Proll explores this through this character is both jolting and poignant, with the actor maneuvering Eddie’s character through it all with energy and poise.
Primary supporting roles arrive first from Alec Newman as Margaret’s less-than-respectable husband David, whom we get quite the introduction to, quickly learn to despise, but yet is integral to the greater facets of the film’s focus, and a credit to Newman for being another actor very successful at creating a character you love to date. Tillie Murray is Sasha, Margaret’s beloved but also mutually long-suffering daughter whose own interaction with Jack are just as explosive as with her mother, but at least finds some semblance of solace when he is away and it is JUST her and her more accepting parent. Additional supporting appearances are made by Sidney Kean, Andrea Hall, John Metzger, Gloria Schaefer, Mark Beauchamp, Ben Hall, Joseph Steyne, Katherine Hall, Radley Mason, Kishan Deva-Aditya, James Skinner, Ibrahim Alshami, Portia Booroff, Carly McCann, Nina Gabriela Goldsworthy Moll, Dino Kastrati, Michelle Heffer, L.T. Hewitt, Georgia Wood, Alan Price, Charles Oakden, Francesca Donadoni, Benedetto Argento, Kieran Coyne, and Suzanne Murray.
So, in total, “All That Glitters” presents the harsh reality of presumption, the potentially damaging consequences of relying on that mentality, and believing we’re trapped with no escape from what we’ve come to know as our “norm”. However, with the ULTIMATE message being one that convincingly illustrates how we CAN make the RIGHT choice to CHANGE when it’s needed and afterwards experience a better road to travel with the newfound awareness of what might lie beneath the surface in our conscious, it morphs into a film that offers that seemingly so elusive aspect to this life we desire most–LIBERATING, UNIFYING, and SHARED HOPE as human beings. Because struggling doesn’t distinguish between social classes, and all that glitters truly isn’t at all gold.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
