While there are some momentary glimpses of inventive horror film-making, there’s little doubt the short format would have served Windsor Drive‘s purposes better and that’s the only thing that’s clear after sitting once through.
Obscured by an overwhelming number of confusing and convoluted scene changes and music video-style edits, Windsor Drive strives for conjuring a moody, noir-esque vibe but instead results in an exasperating experience lacking in logic and inspiration. Knoxville, Tennessee native Natalie Bible’ has something on her mind about the degree of psychological asylum people are willing to sacrifice for the sake of a shot at the big time (specifically for an acting gig in this case) but unfortunately whatever that message is supposed to mean to anyone not in showbiz is extremely difficult to access.
In fact, trying to deduce what Windsor Drive is saying — other than that crazy people are drawn towards crazy professions like acting — is like digging through a stack of needles to find a single straw of hay. It’s painful and damn tedious. I’m having flashes of Shawnee Smith in Saw II, sorting through a knee-deep stash of filthy syringes dumped into a pit in that decrepit home. I may not have bled as much (or at all), but the effort to keep going was, well . . . cut to the shot of her Amanda falling to the ground after finding the key and having completely expended her physical and psychological strength.
Film features a bevy of soap opera stars who are as easy on the eyes as they are grating on the ears. These relative unknowns unfortunately aren’t convincing in the slightest; luckily T.R. Gough’s haphazard script doesn’t have much time for dialogue, so most of the awkwardness presents in the stiff way these people carry themselves. With the exception of star Tommy O’Reilly fully committed to the fragile actor role — his River Miller’s archetypical tall, dark and handsome physique offers a fairly threatening character — supporting roles, mostly female, are sketches of actual people. Samaire Armstrong’s Brooke, one of River’s exes, is relegated to line rehearsals like, ‘No, please don’t leave. You should stay and have sex with me again,’ only the dialogue isn’t quite as profound.
River moves to the L.A. area to find a proper acting gig, wanting to leave his past behind in which a girlfriend tragically took her own life. He takes a room in a house run by two hipsters, hipsterly named Wulfric (Kyan DuBois) and Ivy (Anna Biani) who have, I don’t know, something weird going on. Most of the narrative is spent in this place, a brooding ground where the three roommates occasionally interact and ruminate on how hard it is to find a good gig as an actor. Then River finds out there’s a small part in a remake of the Windsor Drive movie. Bible’ teases out a few of the lines he has to rehearse in a sequence of admittedly brilliant shots that blur the line between the head space he gets in in character and the one he leaves behind in the real world. There needed to be more of that.
Should Bible’ have gone the short film route, one of the piece’s most nagging issues would have most assuredly been eliminated: feigning creativity in order to reach a certain run time. Shots cut and re-cut so that they play over and again upside down, in reverse and in different color palettes (all semi-related, of course) and framing speeds become so commonplace it’s clear that time passing is the primary objective. Best case scenario, Windsor Drive is amateurish with a bit of potential; at worst it’s one of the more pretentious bits I’ve seen. Condensing the timeline might not have guaranteed its salvation, but tightening the focus would have steered the project away from pretence quickly.
Windsor Drive is now available on DVD now! Will you be checking it out? Let us know in the comment box below!