[Originally posted on Nerdly]
Stars: John Adams, Toby Poser, Sam Rodd, John DiMaggio, Claire Denis, Doug Spearman | Written and Directed by John Adams, Toby Poser
Put simply, this is a mess. And not the good kind of cinematic mess that’s so overflowing with ideas the filmmakers can’t fit them all onto the screen without throwing coherent storytelling out the window. No, this is the other kind of mess – the kind where the script runs out of gas halfway through and the film carries on anyway.
What story there is in The Shoot concerns Tommy and Dougie, a pair of middle-aged rockers in dodgy debt up to their ears who decide that robbing a fashion shoot in the desert is their express ticket to solvency. Tommy’s wife Maddy works as a costumer for the shoot so it’s pretty obvious things aren’t going to go well. Things take a turn for the violent when the hired security/slumming actor with a gun starts taking shots at the duo and the corpses begin to pile up. Dougie inexplicably executes one of the crew and decides that, in order for him and Tommy to get away clean, all the witnesses need to die. Seems reasonable enough.
What follows is not a series of tense stalking sequences punctuated by searing violence but forty-ish minutes of aimless wandering, mean-spirited gross-out comedy and cod philosophising about binary states of morality. Some of these elements could work if the script had a consistent tone or any of the actors seemed vaguely interested in anything happening onscreen, but as it happens everyone just looks like they’re waiting for the next bus.
It says a lot that the best performance in the movie is given by John DiMaggio (the voice of Bender and Jake!) as a politely menacing loan shark. This would be a good thing, except that he only ever appears in one scene early on. Frankly, the rest of the film is so contrived, aimless and frankly boring that I would have much rather the plot shifted focus to DiMaggio’s character and left the utterly charmless leads far behind. Unfortunately we’re left to Tommy and Dougie, who inevitably turn on one another after it’s clear the film’s about to end soon.
Things turn out well for some of the characters until you remember that nothing whatsoever was resolved, but that’s apparently okay because – according to a perfunctory enough final shot – Tommy’s relationship with Maddy was supposed to be the main thing the whole time. I guess that’s why there was that protracted, otherwise completely gratuitous shot of the two having sex at the beginning. Right?
Except Maddy doesn’t have anything to do in The Shoot except be threatened with rape by the loan shark and let the leads know that there are expensive jewels on her set. Her superfluity to the film’s story – other than as a plot device – is even highlighted in that first shot, in which her ceiling-stretched legs are the only part of her visible. She’s barely half a character, which is still more than the rest of the flattened showbiz stereotypes that populate the supporting cast can say.
All of this would be par for the no-budget pet project course if not for the fact that The Shoot was written and directed by John Adams and Toby Poser, who play Tommy and Maddy respectively. You’d think a male/female directing team – especially one that’s presumably also a couple – would push each other to do better when it came to fleshed-out characters, but evidently they got stumped at the earlier roadblock of making their damn film entertaining.
I find it hard to write about this film because it’s difficult to remember anything of importance or interest that happened in it. When even the cast look bored by the movie they’re being paid to be in, how can an audience be expected to put up with this shit? I appreciate the amount of work Adams and Poser put into The Shoot, because according to the credits they did most everything on set. But it seems that at some point they started spreading themselves far too thin to make anything worth seeing, and unfortunately hard work is but one of many ingredients required to make a good movie. If that was all it took anyone could be Stanley freakin’ Kubrick.