Theater can be a cutthroat business.Et Tutakes that premise literally in a comedic serial killer thriller that gives new meaning to the adage “the show must go on.“Lou Diamond Phillips leads a sharp ensembleas a frustrated director who takes extraordinary steps to fix his wayward production ofShakespeare’sThe Tragedy of Julius Caesar. Anyone who’s worked in a theater company will laugh out loud at the archetypal characters and apt portrayal of the petty bickering that takes place backstage. There’s a giant leap from squabbling to depravity, but sometimes bloody sacrifices must be made for the sake of art — at least according to this film.
A thundering orchestral score signals the violence to come as Brent (Phillips) watches his fractured cast rehearse from the back of the auditorium. He furiously scribbles notes until strangely stopping. Brent tells everyone to take their seats as he stands, annoyed, under a bright spotlight. Let’s just say Brent’s not kind about the awful acting he’s just had to endure. He’s particularly incensed at Marcus (Brennan Keel Cook), the spoiled son of the theater’s owner, who’s been cast as Brutus. But Brent does give kind and encouraging words to Terrence (Antwone Barnes), Marcus' understudy. This favoritism is noticed by the other understudies, stoking further jealousy.
Bloody Theatrics
Brent’s blood pressure rises when he’s confronted by prop master Vicky (Jaclyn Mofid), who’s tired of Marcus' juvenile antics. He’s been having a blast stabbing his fellow actors with the prop dagger, but Vicky warns that someone could get hurt as she places a real dagger beside the stunt one. Brent returns home early to see Marcus leaving his house. He lies to Nadine (Rachel Alig), his wife and the show’s producer, that he’s on his way. Now unhinged, Brent decides to confront Marcus about his improper behavior the following night.
Director/writer Max Tzannes (Found Footage: The Making of the Patterson Project)pokes good fun at the rivalries and unchecked egos that rage behind the scenes when producing a contentious play. Marcus is the quintessential “nepo baby” who always gets the juiciest role for all the wrong reasons. Tzannes slowly drips the exposition behind Marcus' casting with ghastly reveals about the theater’s troubled history, which play into Brent’s deteriorating mental state. Does he have full control of his faculties? Or has Brent descended into madness, and every underling is just too fearful to recognize his insanity?
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Phillips brings his decades of experienceto delivering a realistic theater director. They are all-powerful beings who pretty much control every aspect of the production — nothing misses the burning gaze of a director who demands perfection. Scenes of Brent giving harsh notes to his actors, putting the crew in their place and keeping Nadine at bay aren’t entirely fiction. Phillips is both a tyrant and skillfully duplicitous in getting what he wants out of the company. This is especially humorous as the blood begins to flow and Brent’s grip tightens like a noose.
Antwone Barnes also delivers a breakthrough performance as Terrence. Every understudy dreams of the day they can finally exhibit their talent, and while Terrence has toiled in Marcus' shadow, it’s obvious to Brent that he’s a better Brutus. The knife twists further when those enamored and envious of Brent’s sudden fixation on Terrence assume some impropriety has taken place. What did Terrence do to suddenly become Brent’s favorite? Imaginations run lewdly wild without any real clues to Marcus' sudden disappearance, and Terrence also fosters this treacherous discourse by making the most of his opportunity. This is Terrence’s moment to shine, and he doesn’t feel guilty about playing dirty for a chance at stardom. Barnes does a believable job of assuaging Terrence’s nerves, and being a fantastic Brutus when the show actually commences.
Antwone Barnes Shines
Et Tuis primarily shot in a theater, with some nifty camerawork from Tzannes. He follows Brent in long handheld tracking shots as he winds between various murderous conflicts, and each nook and cranny of the bustling backstage, control room and dressing rooms are accurately depicted. Even Brent’s use of the house intercom to proclaim that another cast member has suddenly “quit” makes sense in context: The job is now someone else’s responsibility, and they had better get cracking. The film gets the visual aspects right as the plot goes off the rails.
Malcolm McDowell appears midwaythroughEt Tuas a janitor who observes Brent’s efforts to tidy loose ends. There’s no mystery to this character, who doles out advice like the devil on Brent’s shoulder. He confirms what’s wrong with the director, which makes everything in the aftermath of each killing progressively less interesting. Tzannes' script would have been tighter with less focus on McDowell’s character and more on the theater’s dark past. Tzannes takes a page from Stanley Kubrick and Stephen King’sThe Shining, but falters tremendously in the final act.
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Et Tuloses significant creative steam as the bodies pile up. The clever opening dissipates, and the film never recovers its early mojo. Strong performances make the most of the material, but there’s probably not a wide appeal here for general audiences.Et Tuis meant for the theater crowd, as well as those who can appreciate a bloody twist to a hectic stage production.
Et Tuis a production of Dirty Shot Clean and 4Leaf Productions. It will be available to stream on demand and digital download on July 25th from Buffalo 8.
