'I WORK' tells the story of a man suffering an existential crisis, and his housemate taking it upon himself to discover hidden truths about him. The film revolves around Pete (Tom Bridger), a timid and somewhat submissive person with a keen work ethic, obsessive compulsive tendencies, and lack of social skills. Pete lives and works with Mark-O (Michael Henry), a confused individual who presents himself as an anarchist with no connection to the world he lives in, but secretly seeks acceptance. As if losing his job wasn't enough for Pete to come to terms with, Mark-O accidentally chops his little finger off, exposing wires and oil in place of flesh and bone. Either out of perverse fun or genuine support of his friend, Mark-O suggests Pete look into his estranged father and when the suggestion is met with resilience, Mark-O decides to hire a private investigator (Charles Cromwell). As Pete grows to accept his reality and becomes more liberated, Mark-O sinks into his own existential crisis.
'I WORK' takes the concept of Blade Runner, replacing themes of equality and paranoia with self discovery and social expectation, and setting itself in the present rather than a distant, technologically-advanced future. Whereas the replicants have rebelled against their programming and want to live and be treated fairly, Pete's ambiguous android character just wants things to be as they were, leading his dull, everyday life, probably without the knowledge he's different. Other inspiration is evident in Mark-O, who could easily be a Kevin Smith character – in fact his attitude is nearly identical to that of Randal's to Dante's predicament in Clerks II, mixed in with a touch of Jay's humour. There's even a Spaced-esq tirade of insults aimed at Pete and Mark-O's co-workers.
Its not all referential though, in fact I WORK is mostly original, and a worthy film in its own right. The writer's humour is his own blend of visual gags, awkwardness, and quick diversion, his social commentary an indictment of the politically right-leaning, and of the West's attitudes in general.
Some of the visual gags don't work too well this time, one example being urine splashed on a shoe being hard to spot, and another being spoiled by a door opening too late after the punchline was delivered ('You look like a butler'). Pete's awkwardness throughout provides constant amusement, his idea of fun amidst Mark-O's own, immature, ideas is suitably juxtaposing, but the awkwardness is pushed to the limit by Mark-O's photo and a dangerously dark paedophile joke. There's a touch of slapstick in there too: eyes popping out and being hit by doors. Its a really funny film throughout and I don't want to share my favorite jokes, to prevent spoiling them, but it makes this review seem negatively critical without.
The acting is surprisingly good all round, with exceptional performances from Cromwell, playing his character of a hand to mouth PI superbly, and from James Henry, who plays the manager that fires Pete with ample character. Bridger does an excellent job of conveying unease and a transition from woe to contention; he makes for an excellent android through his bodily expression (not to say he's a robotic actor). During an exposition dump in the final third of the film, Alex Holland and Andy Howlett play off each other as scientists or engineers (in a garage, a reference to Primer?) really well, with Holland providing one of the most relaxed and conversational performances in the film, bested only by Rob Smith's phenomenal representation of Pete's troubled father.
From a technical point of view, the film looks and sounds like a quality production, exhibiting the best editing I've seen in a Michael Henry production, an excellent and appropriate soundtrack from Sebastian Moody, and a wealth of location shooting. That soundtrack is aptly futuristic and suggestive of robotics – at times, it reminds me of the Portal 2 soundtrack, which can only be a good thing for such a film, and I think it shows the strength of Moody's output. There's plenty of synth, and bass 'wub wubs' to reinforce the android theme and youthful cast. Yet its not all up tempo, with suitably heart-full pieces for the more sensitive scenes.
Intimacy does feature throughout I WORK, but there are a few notable scenes where the heartstrings get pulled. Towards the end of the film, Mike-O realises his loneliness and the futility of his lifestyle, in which Henry gives an emotional performance, all the while sitting next to a puppet. In another scene, Mark-O berates his racist, homophobic, self-entitled mother (Sasha Drennan); the intent is quite literal, but I can't help but feel bad for the mother character at how her son speaks to her, and makes her feel unloved.
In the end, I WORK isn't provocative, but it is interesting, funny, and entertaining; it succeeds as a comedy film, it's a decent watch, and it has been excellently crafted for such a small budget. If nothing else, I WORK should serve as a prime example to independent and prospective film makers of what's possibile if you own some basic equipment and have the drive to do well. It's good to see Mike return to comedy, and I WORK shows real progression from the more serious Ennui (2009) and Restless Dust (2010), though retains the thoughtful writing of both.
'I WORK' takes the concept of Blade Runner, replacing themes of equality and paranoia with self discovery and social expectation, and setting itself in the present rather than a distant, technologically-advanced future. Whereas the replicants have rebelled against their programming and want to live and be treated fairly, Pete's ambiguous android character just wants things to be as they were, leading his dull, everyday life, probably without the knowledge he's different. Other inspiration is evident in Mark-O, who could easily be a Kevin Smith character – in fact his attitude is nearly identical to that of Randal's to Dante's predicament in Clerks II, mixed in with a touch of Jay's humour. There's even a Spaced-esq tirade of insults aimed at Pete and Mark-O's co-workers.
Its not all referential though, in fact I WORK is mostly original, and a worthy film in its own right. The writer's humour is his own blend of visual gags, awkwardness, and quick diversion, his social commentary an indictment of the politically right-leaning, and of the West's attitudes in general.
Some of the visual gags don't work too well this time, one example being urine splashed on a shoe being hard to spot, and another being spoiled by a door opening too late after the punchline was delivered ('You look like a butler'). Pete's awkwardness throughout provides constant amusement, his idea of fun amidst Mark-O's own, immature, ideas is suitably juxtaposing, but the awkwardness is pushed to the limit by Mark-O's photo and a dangerously dark paedophile joke. There's a touch of slapstick in there too: eyes popping out and being hit by doors. Its a really funny film throughout and I don't want to share my favorite jokes, to prevent spoiling them, but it makes this review seem negatively critical without.
The acting is surprisingly good all round, with exceptional performances from Cromwell, playing his character of a hand to mouth PI superbly, and from James Henry, who plays the manager that fires Pete with ample character. Bridger does an excellent job of conveying unease and a transition from woe to contention; he makes for an excellent android through his bodily expression (not to say he's a robotic actor). During an exposition dump in the final third of the film, Alex Holland and Andy Howlett play off each other as scientists or engineers (in a garage, a reference to Primer?) really well, with Holland providing one of the most relaxed and conversational performances in the film, bested only by Rob Smith's phenomenal representation of Pete's troubled father.
From a technical point of view, the film looks and sounds like a quality production, exhibiting the best editing I've seen in a Michael Henry production, an excellent and appropriate soundtrack from Sebastian Moody, and a wealth of location shooting. That soundtrack is aptly futuristic and suggestive of robotics – at times, it reminds me of the Portal 2 soundtrack, which can only be a good thing for such a film, and I think it shows the strength of Moody's output. There's plenty of synth, and bass 'wub wubs' to reinforce the android theme and youthful cast. Yet its not all up tempo, with suitably heart-full pieces for the more sensitive scenes.
Intimacy does feature throughout I WORK, but there are a few notable scenes where the heartstrings get pulled. Towards the end of the film, Mike-O realises his loneliness and the futility of his lifestyle, in which Henry gives an emotional performance, all the while sitting next to a puppet. In another scene, Mark-O berates his racist, homophobic, self-entitled mother (Sasha Drennan); the intent is quite literal, but I can't help but feel bad for the mother character at how her son speaks to her, and makes her feel unloved.
In the end, I WORK isn't provocative, but it is interesting, funny, and entertaining; it succeeds as a comedy film, it's a decent watch, and it has been excellently crafted for such a small budget. If nothing else, I WORK should serve as a prime example to independent and prospective film makers of what's possibile if you own some basic equipment and have the drive to do well. It's good to see Mike return to comedy, and I WORK shows real progression from the more serious Ennui (2009) and Restless Dust (2010), though retains the thoughtful writing of both.
