The film industry is built on dreams and taking hard hits when crap hits the fan. We live in an age where the bureaucracy of the system is collapsing under its feet. One could say the swamp is being drained. The time of sycophants, blackballing, sexual assault, cheating newcomers of their potential, and dishonest business tactics is being challenged. Even the indie film world is guilty of committing some of these sins. It begs the question: will the film industry actually change and open the doors for newcomers?
Jeffrey Scott Collins’ Above The Line, a heist-comedy, shows what happens when misfits take charge. It is Christmas Eve in Hollywood. Six individuals are sent on a mission to steal the Best Picture awards by midnight from a corrupt producer, Jack Woodrow (Gregg Henry), and receive a million dollars. Each individual is given a code name, must keep their personal life a secret, and no cellphones are allowed on the heist.
Woodrow is notorious for his unfair treatment of young talent, and all six interacted with him at one point. A screenwriter, Princess (Sophia Ali), was given the chance to have her screenplay made into a film. Woodrow deceived her, and she received no credit, despite the fact that it won a Best Picture award. Ghost (Reno Wilson) pitched a sci-fi horror franchise to Woodrow, but he received no royalties once it became a phenomenon. Two brother-directors, Spaceman (Jackson Pace) and Cowboy (Dylan Playfair), sign the contract of a lifetime, yet they unfortunately learn that their film will never be released. The other members of the mission, Hero (John Way) and Dame (Jamie Lee), get screwed over by facing rejection at an audition and the casting couch. With the backstory out of the way, the mission goes haywire. Hero decides not to partake in the mission. Princess seemingly seems to be ahead of everyone else, especially when the group interacts with Officer Dalton (Adhir Kalyan). There are enough twists and turns to keep audiences entertained.
“Six individuals are sent on a mission to steal the Best Picture awards by midnight, from a corrupt producer…”
Collins’ film is structured similarly to the mid-budget comedy Game Night. Garrett O’Brien’s cinematography enhances the story with engaging camera angles, especially with a rotating 360-degree shot that comes in during a key moment. The costume design by Lou Schad is excellent, and I appreciate her touch for the heist masks based on major film franchises. Ben Smith-Petersen’s stunt choreography adds momentum alongside the sharp screenplay by Collins and Jono Matt.
While the film is entrenched inside the film industry’s brutal system, the story is applicable to a general audience. It speaks to the power of resilience, speaking up for oneself, and being open to second chances. All of these creative elements work because the cast plays thoroughly developed and engaging characters. Above The Line is in sync with a quiet rebellion happening throughout the industry, whether it is the series, The Studio, or the action film, The Fall Guy. Even the indie comedy, Micro Budget, works as a companion piece to Collins’ film.
Hopefully, Above The Line will connect with those in the film industry. It has been a tough time, whether it is a slow job market, the industry chasing short-term trends, or a lack of transparency. Change needs to happen, even if it means going back to a trade school-style system from Hollywood’s Golden Age. We cannot be reliant on film schools, bullying unions, content creation, and trusting Silicon Valley to solve our problems. If anything, Jeffrey Scott Collins’ heist film will entertain with its honest satire and encourage filmmakers to be persistent in beating the odds!
"…Princess seemingly seems to be ahead of everyone else, especially when the group interacts with Officer Dalton..."
