Delivery, from co-directors Colton Eschief Mastro and Eric Jackowitz, comes from the tradition of darkly comic takes on the unique lives of serial killers. Of course, it helps that lead actor/co-writer Mastro is the spitting image of Dexter from the eponymous series. Interestingly, the short film does a sharp 180 about halfway through, making the enterprise much less grim than it was otherwise shaping up to be.
Charlie (Mastro) leaps out of bed in the morning to the tune of “Rockin’ Robin” and dances around his apartment as he gets ready for the day. Morning people, am I right? Never before have I seen anyone, in cinema or in real life, with such a spring in their step. Charlie is an independent contractor delivering food for Super Eats. Easy money, no hassle, be your own boss, etc. One of his deliveries takes him to the home of Madison (Jessie Gill), who, upon opening the door to greet him, mispronounces his name as “Chunkly,” indicating what one can presume is one of the many indignities that delivery people suffer in the name of occupational freedom.
“…deliveries isn’t Charlie’s only job, you see. His real passion lies in stalking people and then killing them.”
But making deliveries isn’t Charlie’s only job, you see. His real passion lies in stalking people and then killing them. Delivering food is simply a means of gaining easy access to a constant stream of potential new victims. It’s a perfect ruse! But something strange and unexpected happens when he begins to make his move on Madison. Charlie might have just met his match.
Mastro and Jackowitz make wonderful and conspicuous use of colors throughout Delivery. Charlie’s red motif is displayed throughout his apartment and clothing choices; Madison’s signature hue runs in the light blues. The visual style tends to resonate more than the story, co-written by Mastro and Alex Weiss, which is contrived yet enjoyable in a ridiculous sort of way. Also worth mentioning are the stellar contributions from cinematographer Blake Gayton, an obvious stylist in total control of his camera, as well as Jackowitz and John Spiker’s original music. It is lively when it needs to be but then easily switches to dark and moody as the occasion calls. All display excellent work.
The actors display an infectious exuberance and vibrancy throughout, especially Mastro and Gill, who practically bounce off the screen, sometimes literally! Both actors match each other in pep, which is nothing to easily brush off since Mastro opens the movie with his almost absurdist and explosive mini-dance. Delivery radiates the type of energy that only a short made by struggling actors and filmmakers can. Despite the “oh please” -ness of the plot, the film bops along pleasantly enough until the expected conclusion.
"…bops along pleasantly..."
