{"id":30256,"date":"2020-10-25T13:49:28","date_gmt":"2020-10-25T20:49:28","guid":{"rendered":"http:\/\/behindthelensonline.net\/site\/?p=30256"},"modified":"2020-10-25T13:50:07","modified_gmt":"2020-10-25T20:50:07","slug":"tar","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/tar\/","title":{"rendered":"TAR is a bit of a sticky wicket thanks to the Man of the Tar"},"content":{"rendered":"

 <\/p>\n

An original premise that stems from the idea of \u201cwhat if\u201d and the\u00a0famed\u00a0La Brea Tar Pits, TAR hypothesizes via an entre of Native American lore,\u00a0what if<\/em> something has survived in the tar or under the tar for the past 40,000 or more years and is now rearing its sticky self amid all of the underground construction on Wilshire Boulevard?\u00a0 It\u2019s an interesting idea and probably something that many kids and even adults have wondered every time they visit the tar pits or walk by and see the mammoths rising out of the still bubbling tar. With that idea as a starting point, writer\/director Aaron Wolf together with co-writer Timothy Nuttall brings the story to life on the screen.<\/p>\n

\"\"<\/p>\n

Spanning three generations of the Greenwood family, times they are a-changing.\u00a0 Their small family business which has been in the same Wilshire Boulevard location for decades is being demolished thanks to the City\u2019s \u201cprogress\u201d in extending the subway system.\u00a0 The Greenwoods have to leave and must be packed and gone no later than 6:30am.\u00a0 It\u2019s moving day and the family patriarch, Barry, is more than melancholy, steeped in nostalgia with every paper, every box, every staple he touches.\u00a0 His son Zach, seemingly always at odds with his father and with little interest in the family legacy, is pushing the packing along with a less than sympathetic ear.\u00a0 Adding to Zach\u2019s frustration is the less than ambitious nature of the employees, all but one of whom probably couldn\u2019t find a job anywhere else but for the generosity of Barry Greenwood.<\/p>\n

\"\"<\/p>\n

But as day turns into night, strange things start to happen.\u00a0 Noises and rumblings that are more localized, louder and stranger than an earthquake, put everyone on pins and needles.\u00a0 Fear starts to escalate when power is lost.\u00a0 Zach plays it off as nothing and continues to be a taskmaster with the packing; that is until strange things start happening, things that harken back to stories he was told as a young boy by his father and grandfather, stories of a creature that lives deep in the tar, only appearing when his slumber is disrupted by man and his \u201cprogress.\u201d<\/p>\n

There are several strong suits to TAR that bubble to the surface and keep your interest, most notably, the concept itself, the casting and performance of Graham Greene, the creation of the TAR creature, some nice sound design and mix, and the paced editing of the creature\u2019s reveal.\u00a0 However, TAR does get stuck in some of the muck that weighs it down with a lack of clarity and intent.<\/p>\n

\"\"<\/p>\n

As mentioned above, the idea of a creature under the LA Brea Pits is not only within the realm of the imagination but allows for a story to go in many directions, one of which is that Wolf and Nuttall smartly take here, especially given the cinematic economy so necessary in a lo budget\/no budget\/micro-budget indie film, as provided by the ongoing subway construction along Wilshire Boulevard in front of the tar pits.<\/p>\n

Building on that original concept is the introduction of Native American lore and the history of the tar pits, the importance of the Native American people in the region, and the tales of \u201cMan of the Tar\u201d as regaled by a homeless Native American sitting outside the La Brea Tar Pits, telling the tale to all who pass by and toss a few shekels into his cup.\u00a0 Serving in this narrative capacity is Graham Greene who is perfection.\u00a0 The authenticity that he brings in this role is not only essential to the film but elevates some of the more obvious indie production elements. \u00a0And while Greene pops up several times throughout the film, you find yourself constantly hoping to see more of him, particularly given some of the other characters and performances we are witness to.<\/p>\n

\"\"<\/p>\n

Timothy Bottoms easily tackles the role of family patriarch Barry Greenwood, combining a sense of wistfulness for days gone by as the family business is being destroyed, and the idea of protecting his family when the Man of the Tar rears its ugly sticky head.\u00a0 Stuart Stone provides much needed comic relief as realtor Sebastian, so anxious to have the Greenwood business gone so he can do a quick turnaround for high rent before eminent domain kicks in and the City demolition teams arrive. \u00a0But then things go south with characters and performance with the exception of Dani Fernandez as paper-pushing employee, Carmenia.<\/p>\n

\"\"<\/p>\n

As the beyond buffoonish Ben, with lines like \u201cthe building burped\u201d and inappropriate sexual comments to his female coworkers and demands to be kissed, Sandy Danto proves an annoyance and has one wondering if this is supposed to be a \u201cknowing\u201d wink-wink comedy of sorts.\u00a0 This is a family-owned business and someone like Barry Greenwood would never allow a character like Ben on the premises. This is one of the times in a true horror film where you are hoping maiming and death come quickly for a character, basically to put you as the viewer out of your misery.\u00a0 Add to Danto\u2019s take on Ben, Emily Peachey as Zach\u2019s significant other, Nicole Alexandra Shipley as the buxom blouse-buttoned-down-to-there Diana, Tiffany Shepis (who I normally like to see in a film no matter how small the role) as self-perceived psychic Marigold, and Aaron Wolf as Zach Greenwood, adding a fourth hat as lead actor to his already heavy job duties as director, co-writer, and producer of TAR.<\/p>\n

\"\"<\/p>\n

This is one of those times where an actor should either be an actor or step away and be a director\/writer, but not do all at the same time.\u00a0 While I fully appreciate the need for economy in indie filmmaking, sometimes filmmakers need to bite the bullet for the sake of the film.\u00a0 Using insets of Wolf in character as Zach Greenwood with a stupefied look on his face regaling events of the night to someone, presumably the police, from beginning to end, detracts from the events of the night which really pick up more than halfway into the film.\u00a0 And even then, although his scenes opposite Timothy Bottoms and Graham Greene are resonant and strongly delivered, Wolf lacks a believability during this night of turmoil. \u00a0I strongly believe that a different set of eyes could have strengthened Wolf\u2019s performance and the film as a whole.<\/p>\n

\"\"<\/p>\n

From a production standpoint, Wolf does a good directorial job once we get past the midpoint of the film.\u00a0 The first half of the film is lackluster with too much exposition and extraneous \u201cstuff\u201d, almost as if it was plugged in to fill time.\u00a0 When the action does pick up and tension rises by the third act, Wolf exhibits good instinct in working with his cinematographer Aashish Gandhi who does wonders with camera angles to vary the look of hallways and rooms giving a sense that the office is much larger than it is.\u00a0 And when we get to \u201ctar on man\u201d action, Wolf wisely lets Gandhi\u2019s work and that of editor Simon Carmody take center stage with handheld camera work and some rapier editing that ups the fear factor exponentially. \u00a0And kudos to the FX folks handling the tar itself; and yes, as with many of the effects in the film, it\u2019s practical and not CGI.\u00a0 It looks terrific and terrifying in many instances.\u00a0 Standout are lightly sepia-toned flashback sequences to the days of Barry Greenwood as a child. Tieing the generational aspects of the story together, these flashbacks are shot handheld with dutched framing and tight close-ups that convey fear as well as giving us the POV of a child seeing not only the larger than life bravery of a parent but casting an indelible impression on him for the rest of his life, thus adding an emotional urgency and resonance to the film.<\/p>\n

\"\"<\/p>\n

And speaking of Carmody\u2019s editing, kudos to both he and Wolf on pacing the reveal of the Man of the Tar.\u00a0 Beautifully done.\u00a0 Much as Victor Salva did back in 2001 with Jeepers Creepers<\/em> we are kept in the dark as to what is making noise, where are puddles and pools of tar coming from, showing us only a foot, a dripping tar cloak hem, staff or spear, a claw, teasing us until well into the third act as to what this creature is, what does it look like. Very well done with the paced reveal and once we see the creature, we are not disappointed in its look.<\/p>\n

Most impressive is Conor Jones\u2019 scoring and the use of drums and other Native American instrumentation which is then effectively mixed by the sound team with sounds of underground construction, earthquake-like building shakes, and the Man of Tar himself, the latter of which are quite fun and have a true creature-like inner growl as if from the bowels of the earth. Notable is the subtle use of Native American chanting which adds more texture and follows through on the opening narrative by Graham Greene and his character of a homeless man.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

One of the biggest dilemmas with TAR, however, is that it gets mired down by not knowing what it is or who is the intended audience. Is it a horror film?\u00a0 Although there are a few bloody moments, it doesn\u2019t feel like one.\u00a0 Is it psychological terror?\u00a0 It does play to that, but not sufficiently.\u00a0 Is it tongue-in-cheek, a \u201cwink-wink\u201d at itself?\u00a0 There are moments.\u00a0 Is it a family drama?\u00a0 There are those elements, as well.\u00a0 But nothing really stands out as defining which I fear will create an issue with marketing and with viewers.\u00a0 There needs to be more clarity as to the intended audience for the film, a clarity which can come through stronger more believable characters and a more substantive story in the first half of the film.\u00a0 And it\u2019s a shame because there are some wonderful elements here that stick with you long after the film bubbles to an end; elements that I sincerely hope to see in a sequel.<\/p>\n

Directed by Aaron Wolf<\/p>\n

Written by Aaron Wolf and Timothy Nuttall<\/p>\n

Cast:\u00a0\u00a0 Timothy Bottoms, Graham Greene, Aaron Wolf, Sandy Danto, Dani Fernandez, Tiffany Shepis, Nicole Alexandra Shipley, Emily Peachy, Stuart Stone<\/p>\n

By debbie elias, 10\/15\/2020<\/p>\n