Gearing up for a 2020 release, VOLITION is thrilled to land on multiple BEST FESTIVAL FILMS OF 2019 LISTS! Thank you HorrorHound.com, SliceofSciFi.com and ThePeoplesMovies.com, among others, for the shout outs! We’re thrilled to sit alongside such films as Us, Midsommar, Freaks and Parasite!
To top it off, the reviews on these list have been absolutely stellar, as you can read below!
HORRORHOUND.COM
“Volition – by Tony Dean Smith (Frightfest)
One of the few films found on my favorites list this year to play more than the top tier festivals, Tony Dean Smith’s Volition is one of the truly, best hybrids of horror and science fiction this year and perhaps this decade. Anchored by a series of stellar performances that lays a human foundation to the complex storytelling, the film features lead actor Adrian Glynn McMorran as ‘James’ and the character ‘Uncle Ray’ played by the versatile John Cassini. Volition, tells the story of James, who is afflicted by clairvoyance. Going down a wrong path since he was a teen, James one day, witnesses a bunch of events that may lead to his death. As a mysterious woman and a former friend enter his life, James’s world is turned upside down as he puts the pieces together in search of the meaning behind these events as well as who he can trust. One of the most surprising films this year, the Smith Brothers (Tony and Ryan) craft a complex narrative that weaves a mystery that compliments the emotional weight, flawed characters, stellar cinematography, and circular storytelling. Tied up nicely with the strong edit by Tony Dean Smith, Volition just hooks you with the humor, horror, and heart from moment one. (TBA 2020)”
THEPEOPLESMOVIES.COM
“Thematically Volition is a rich and diverting experience, with moral and ethical conundrums orbiting the central concept of the pliability of fate. The choices finally made by the likeable James, as he seeks to break from the white knuckle grip of inevitability, are compelling and unexpectedly moving.
Movies with this much intelligence and finite logistics are often prone to smug self-aggrandising. They seem to relish the Machiavellian headlock they have inflicted on the viewer, forcing them to acquiesce in the sheer cleverness of it all. Where Volition is crucially different is that it presents its elegant narrative as a case for cherishing the present we live in as connected humans, rather than a celebration of its own hubris.
Volition is an exceptional genre flick with a shit ton of ideas and the limitless heart to express them in a way that charms rather than bulldozes.”
Volition uses its protagonist’s clairvoyance to take the clash of free will and determinism for a twistily divergent ride
By Anton Bitel 25-08-19 20,777
“They say when you die, your whole life flashes before your eyes,” says James (Adrian Glynn McMorran) in voice-over at the beginning of Volition. “I wish it were that simple.”
James is practically announcing that this film, directed by Tony Dean Smith and co-written with his brother Ryan Smith, is a chronicle of a death foretold. Yet James is gifted, or cursed, with the ability to see clear glimpses of the future, while his knowledge of his own past is decidedly lacunose. Filtered through James’ uniquely ‘entangled’ perspective, chronology in Volition moves in mysterious ways.”This lousy life has played out before,” as James puts it, “and somehow I’m stuck watching the re-run.” Even the film’s title is confrontational and counterintuitive, given that James’ clairvoyance implies a deterministic universe where free will is a mere illusion. We all know that we are going to die. The problem for James is that he has a pretty clear idea where, when and how he is going to die. The death itself – and its circumstances – seems immutable.
James’ foreknowledge gives him an edge over others – an edge that make him an asset for his criminal associates – but it is also an edge that he is unable fully to exploit, because his exploitation of it is already written. All that matters, all that gives his life meaning, is the gaps in his premonitions, the events that he does not foresee. Short on cash, James has a ‘chance’ encounter with Angela (Magda Apanowicz) – in a universe where there is perhaps no chance, only hard causality – and knows that they are going to have a relationship. Moments later James is called to gangster Ray (John Cassini), who offers him ten thousand dollars to find safe passage for a bag full of blood diamonds worth millions.
Needless to say, things will go belly up, as Ray’s muscle Sal (Frank Cassini) and Terry (Aleks Paunovic) decide to betray their boss, steal the diamonds and make their own fortune. “We do this right,” Sal tells Terry, “everything changes.” James sees this coming – indeed, sees his own death – leading him to flee with Angela to the home of his foster father Elliot (Bill Marchant), where things become very complicated, and Volition veers into TimeCrimes territories.
James is prescient, but not omniscient – and it is the gaps in his knowledge that represent the ambiguous space in which the plot of Volition can complicate itself, even find room to break free of its own carefully delineated confines. The great irony is that a film of this kind must be closely plotted (once you get your head around what is going on), but its characters come across as real and random in their interactions. That inscrutable interplay between tight scripting and apparent improvisation reflects the film’s central philosophical dilemma about free will.
Volition is, in a way, a film about its own writing, and the unusual detours that writers can take in pursuit of what they initially conceive as a fixed idea with a prescribed ending. James’ childhood sketchbooks, and the elaborate diagrams that he draws on his wall, are like the post-it notes that writers arrange and rearrange as they plan out the details and interconnections in their screenplay, where revisions are no less important than plot outlines, and where each deviation creates a different, parallel world. As the Smith Brothers work their way through this paradoxical conundrum, the result is Volition itself, an ingenious product as much of optimistic will as of entrapping design, with a miraculous, impossible ending.
Volition was seen and reviewed at Arrow Video FrightFest 2019.
By Kat Hughes – Aug 25, 2019 Share30 Tweet Pin 30 SHARES
Volition review: Prepare to get your mind scrambled in intriguing, multi-layered sci-fi: Volition.
“Volition catapults the Smith brothers to the top of the filmmakers-to-watch list.”
James (Adrian Glynn McMorran) is a young man with clairvoyant abilities. He makes his living making petty bets and occasionally helping out the local crime contingent. After being drafted in to help on a new job, James accidentally stumbles across the sequence of events that will lead to his death. James, with help from new friend Angela (Magda Apanowicz), must try to piece together the riddle of his life as he tries to alter his future.
‘They say when you die, your whole life flashes before your eyes. If only it were that simple.’ These are the opening words to Volition, words that themselves reflect the film as it isn’t as simple as it first sounds. Much like Looper and Twelve Monkeys, this is a film that has more to it than meets the eye. The premise that we’ve set out may to some degree sound a little like Nic Cage’s Next, but trust me, there’s a hidden depth to be enjoyed with Volition.
The story is the key to Volition‘s success. Sibling duo Tony Dean Smith (who also directs) and Ryan W. Smith have clearly spent a lot of time and effort trying to achieve the perfect balance of several elements. All of their hard work pays off, and it’s a very special moment once the penny drops as to what is really going on. One that demonstrates the duo’s writing talents, and great promise for future projects.
Visually, Volition has echoes of early David Fincher; think Seven meets The Game, as well as Terry Gilliam’s Twelve Monkeys. The style adds a layer of gritty realism to the film, helping to make it a grounded science-fiction story such as Looper and The Terminator. The score is suitably moody and compliments what is unfolding on screen beautifully.
At the centre of the film, as with (in my opinion) all good science-fiction, is a burgeoning love story. James is immediately drawn to Angela and the two hit it off instantly. It’s compelling viewing watching their relationship develop as it tries to overcome some insurmountable obstacles. The chemistry between McMorran and Apanowicz sizzles, making the pair seem all the more tangible as real people. All this combines to have the viewer willing them to overcome the difficulties laid out for them.
A science-fiction film that has a lot to offer, Volition definitely encourages repeat viewings to fully appreciate all the intricacies and secrets buried within.
Volition was reviewed at Arrow Video Frightfest 2019.
REVIEW OVERVIEW | |
Volition | |
SUMMARY: An intricately structured compelling science fiction tale that offers up some interesting ideas and debates, Volition catapults the Smith brothers to the top of the filmmakers-to-watch list. | 4/5 OVERALL SCORE |
August 25, 2019
Written by Tony Dean Smith, Ryan W Smith
Directed by Tony Dean Smith
VOLITION throws you into the nightmare world of James. His gift of clairvoyance is more of a curse given he discovered his magic powers when he had a vision of his mother’s death and did nothing about it – that’s naturally led to a lifetime of regret. He’s cooped up in his apartment, one wall, inexplicably covered in notes and reminders like Guy Pierce’s body in MEMENTO. He’s late with his rent and his landlord is busting his balls for the money. His way of making money is to use his special skills to help a small time gangster mitigate risks through James’s visions of the caper in the future. Problem is, this time James doesn’t envisage evading the law when fencing a pouch of diamonds, he witnesses his own death.
Free will to live his life just got compromised with knowing his own fate. This sends James off on a manic journey of trying to find the fork in the road where he can go a different way and not die. His pursuit of a new future is complicated by the threat of a pair of thugs who want to steal the diamonds from him and their paranoid boss who presumes James is robbing the valuable swag. On this surface information, VOLITION, plays out like a Dashiel Hammett novel and James proves himself to be a hardboiled punching bag that never knows he’s beat. One particular scuffle sees him find an unlikely ally in the shape of Angela. She’s new in town, but there’s a sense of déjà vu when they first meet.
The problem of his imminent death continues to hang heavy so the pair of them escape town and seek solace in Elliot, the professor who knows about James’s unique affliction. From here time and space become relative as the treatment Elliot administers shifts reality so that James gets to repeat recent past events. It quickly mushrooms into a complicated series of butterfly effects that tweak and alter the past, present and future. The mania spewed onto the wall begins to mean something. His apartment, especially the design of it, becomes a metaphor for his dilemma.
The urgent knocks on the door are like the past catching up with him – so there’s no going back. The only future he can have is out the back of his home and onto the roof, but that represents the unknown path to his demise. Tony Dean Smith expertly keeps many story plates spinning in order to combine the pace of the crime thriller in progress with the sci-fi mystery VOLITION reveals itself to be. When the fragmented pieces of truth he’s given you begin to fit together the cerebral slight of hand of the Smith brothers script come into their own a la COHERENCE or THE INVITATION. You’ll feel smarter for the experience of watching it.
UK PREMIERE – VOLITION Sci-Fi Thriller
Director: Tony Dean Smith. With: Adrian Glynn McMorran, Magda Apanowicz, John Cassini, Aleks Paunovic. Canada 2019. 91 mins.
James the clairvoyant gets himself involved with dodgy diamonds to pay his rent. When he glimpses premonitions of his own bloody demise he must make choices that would give Einstien a stress migraine. Can he and Elliot, the cardigan-wearing motherfucker, knit together fragments of his future in time to thwart his deadly destiny?
This punchy and streamlined head-scratcher relies hard on twists and reveals. Subsequently, I will steer away from anything that may dilute the pleasure of having your head fucked with, as the element of surprise is one of the flicks main strengths.
Volition does a marvellous job of enticing us along on its curveball journey with economic exposition and breviloquent dialogue. Too many films of this genre end up smashing the audience over the head with science until they are battered into compliance. Whilst the amount of care poured into this project is evident it never ties itself in knots, a massive compliment for a plot this complex. That being said, you will be cut adrift like a spacewalking accident if you nip to the toilet at the wrong time.
The film looks and sounds glossy and polished and the team of editors, and you will see why they needed more than one, do an incredible job of gelling the film. Without their skilful cinematic weaving things could have gone south very quickly.
Thematically Volition is a rich and diverting experience, with moral and ethical conundrums orbiting the central concept of the pliability of fate. The choices finally made by the likeable James, as he seeks to break from the white knuckle grip of inevitability, are compelling and unexpectedly moving.
Movies with this much intelligence and finite logistics are often prone to smug self-aggrandising. They seem to relish the Machiavellian headlock they have inflicted on the viewer, forcing them to acquiesce in the sheer cleverness of it all. Where Volition is crucially different is that it presents its elegant narrative as a case for cherishing the present we live in as connected humans, rather than a celebration of its own hubris.
Volition is an exceptional genre flick with a shit ton of ideas and the limitless heart to express them in a way that charms rather than bulldozes.
[rating=5]
Going to the Shriekfest Horror Film Festival in Los Angeles this year for the first time, I had a few preconceived notions about it. My biggest was that its lineup would be solely comprised of scary movies. The festival, however, offered a lot more, including thriller and science fiction films. I’m especially glad for the latter, as it led to me viewing Volition. Winner of the Best Sci-Fi Feature Film award at the fest, it is a very well made indie thriller dealing with clairvoyance and non-linear storytelling.
In the film, James is blessed with the gift of clairvoyance. A down on his luck guy who has had associations with criminal elements in the past, he sometimes drifts off in his mind, leading to visions of things to come. He uses this to make a few bucks on boxing matches and the like, just to get by. He is brought back into the criminal fold though, by an old associate named Ray. Ray has millions in diamonds he’s trying to fence and needs James to foresee safe passage for them. The former offers the latter $100,000 in exchange for his services. James signs up for the deal but is soon double-crossed and finds himself on the run. Accompanying him is a drifter girl named Angela, whom he has just met. They’re falling fast for each other, which complicates things. They stop off at the house of James’ former foster dad, and that’s where the time-bending element comes in, making things even weirder, though I won’t go into it too much.
The story shines in Volition, its screenplay the product of the filmmaking team of brothers Tony Dean Smith and Ryan W. Smith. The former also serves as director, and the two craft an ingenious little sci-fi thriller that surprises the viewer at every opportunity. Just when you think you know where it’s going, it takes a hard left turn, and leaves you startled.
The movie is cast flawlessly, showcasing actors I was heretofore unfamiliar with. Adrian Glynn McMorran is James, and we follow him on his journey and become greatly invested in his plight. Magda Aponowicz, a vet of episodic television, shines as the apple of James’ eye, a girl familiar with struggle and one whose quick loyalty is understood and appreciated. John Cassini, who plays the baddie Ray, also impresses as he toggles between striking fear in the hearts of those who he believes have crossed him while also having a sort of fatherly bond with James.
Volition is the type of film that film festivals exist for. It could easily fall through the cracks when put up against the big Hollywood flicks, but in a film fest setting it can be properly evaluated and praised. And praised it should be, as it is one of the better, more original movies I’ve seen this year.
Recommended if you enjoyed: Looper, Primer, Timecrimes
InterviewAugust 23, 2019August 23, 2019zombie2
The Twentieth FrightFest is here so obviously our exclusive interview feature Five FrightFest Facts From… is back with a vengeance. Below we hear from VOLITION’s Tony Dean Smith (director/co-writer/producer) and Ryan W. Smith (co-writer/producer)and you can read more FrightFest Facts from 2019 and beyond by clicking HERE.
1. Tell us about your film?
Volition is grounded, cerebral science-fiction film about JAMES ODIN, a man afflicted with clairvoyance. He sees snippets from his future, and everything he sees always comes true. But his ability is not a superhero power, it’s an affliction, which has caused him to lead a life of petty crime. He sees no use in living an upstanding life because he believes all is fated. That is… until, after saying yes to illegally moving diamonds for a crime syndicate, he suddenly sees a vision of his own imminent murder. Desperate to change his fate, he goes on the run, with a woman he’s just connected with. As they race against an unknown killer, James comes to learn that his affliction is not quite what it seems. The story takes some very unique turns, which has led some reviewers to liken it a mix between LOOPER, INCEPTION and BLACK MIRROR.
2. How did you get into making horror movies?
Well, while Volition has some horror elements, in truth, it’s a cerebral science-fiction film. Tony has been filmmaking from a very young age. It all started when he borrowed our father’s handycam and convinced our siblings to act in his short films. That’s when Ryan got involved. Tony would direct, with Ryan, his younger brother, acting along side their sibling sisters. Soon, Tony’s skills as a writer/director developed, leading to bigger productions. Ryan also shifted from acting and started writing more seriously. Volition is the culmination of all those earlier years, with Tony directing, based on a script written by Tony and Ryan.
3. What film would you love to see screened at FrightFest and why?
We’ve heard only incredible things about FrightFest, with everyone raving about the audiences and their passion. That would make any film-going experience truly unique. To be a bit cheeky, I suppose we’d love to see our next film screen there! First we need to make it… 🙂
4. If you could create your own award to give at the FrightFest, what would it be and why?
We’d give our cast and crew the BEST SMILES ON ZERO SLEEP AWARD, if we could. Everyone worked so damn hard during the making of this film, which included a ridiculous amount of night shoots. The award would be in the shape of a pillow. But hard as a rock… because, hey, no sleeping on set.
5. If your life was made into a horror film, what would it be called and who would play the starring role?
It’d be called Blood Brothers and we’d be played by our doppelgängers, Chris and Liam Hemsworth.
VOLITION’s UK PREMIERE is in CINEWORLD DISCOVERY SATURDAY 24 AUGUST Find out more HERE
By Darryl Ley – August 17, 201911228 Facebook Twitter Google+ Pinterest
Hollywood News Source got the chance to watch Sci-fi film Volition and then interview the cast and crew ahead of its screening at London’s FrightFest 2019 Film Festival.
We conducted interviews with specifically with Tony Dean Smith, Ryan W. Smith, Adrian Glynn McMorran and Magda Apanowicz.
INTERVIEW WITH TONY DEAN SMITH & RYAN W. SMITH
Volition feels like a pretty unique take on Sci-Fi with the only two titles that remind me of it being Kameron Hurley’s Science Fiction novel The Light Brigade and that Next the 2007 film starring Nicolas Cage. Had you heard of those or short story The Golden Man that inspired the latter?
TONY: We’ve never seen The Light or read The Golden Man, but we’ll look for those titles! We were aware of Next and did eventually watch it, but found that our premise had its own unique twist, which differentiated it from their more classic take on clairvoyance.
I’m interested in how things like location scouting works on an independent film like this. How do you balance the perfect spot with the limitations that come when you’re not being backed by a large production company?
RYAN: It was a juggle. We had to get creative with balancing what we had imagined with what was available. Fortunately, we made the film in Vancouver, which is where Tony and I grew up, so our community is quite well established. We had incredible support from friends and family, some offering locations for us to use, others being willing to share their home for a nominal fee. I think people could tell that this was really a passion project, so they were happy to open their doors to us.
When did you come up with the initial idea that became Volition? Was it always a feature as opposed to a book or series?
TONY: I came up with the original idea when I was in film school. Back then, it was written as a short film, but I wasn’t quite satisfied with various elements within the story, so I shelved it and made another short film instead. I then took the idea out of my drawer a number of years later – and that’s when we were both able to tackle the material, and to elevate, ground and expand it into a feature film.
Were you familiar with the work of the two leads?
TONY: Adrian Glynn McMorran was actually in my first student feature film, so our working relationship goes back a long time. Since then, Adrian and I have also worked on various other projects, including Adrian’s music video for a song called Seven or Eight Days (which is actually where the James character gets his look from). Ryan and Adrian also grew up together and went to theater school together in undergrad, so Adrian’s really part of the family. As for Magda Apanowicz, I’ve known Magda for a long time and have always wanted to work with her. Magda was an acting student at a film school where I was a directing instructor. When I first saw her perform, I immediately identified her as someone with incredible talent and honesty. She’s always had that “it” factor.
You have assembled quite a cast for fans of Sci-Fi shows over the last decade was that intentional?
RYAN: We picked our cast more based on who we felt was ideal for the roles, but, yes, their incredible science-fiction background is a huge plus. Fans of sci-fi will know Adrian Glynn McMorran from Supernatural, Charmed and Arrow. Magda Apanowicz is a sci-fi fan favourite from her work in series like Caprica, Continuum, Kyle XY, among others. Aleks Paunovic also has a great sci-fi track record, on shows like Van Helsing, Snow Piercer, iZombie, and the Planet of the Apes franchise. The same can be said for John Cassini (Continuum, Kingdom Hospital, Eleventh Hour), Frank Cassini (Continuum, Stargate SG-1, X-Files) and Bill Marchant (Chappie, Stargate SG-1, Godzilla). The film also has a great cameo from veteran actor Blu Mankuma, who is well known to sci-fi fans. We’re lucky to have them all!
What are some of the unique challenges of managing production on a budget? And what are some of the positives?
RYAN: The positives are that limitations force you into making very concrete decisions, which can actually help creativity and problem-solving. Also, because this film was made independently, everyone hopped on board based on her or his passion for the project. Our set had a real family feel, which I think made the work stronger.
TONY: Everyone was working extra hard to make this project happen. We can’t thank them enough for that. As for the negatives, not one scene is shot the way it would be if we had more time. Due to the time constraints, we had to forgo elegant, sweeping camera moves in favor of a more run and gun approach. Anything to make our day. That being said, we’re very happy with the aesthetic of the film. Working with our DOP Byron Kopman, we found a look and feel that matches the narrative really well.
What have you learned from this project now that you’re nearly on the other side?
TONY: Never write a clairvoyant movie ever again! We’ve learned so much from the process of making Volition. Going forward, I think we’ll just be that much better at anticipating what’s possible and what’s not on a given budget. What we’ve also learned, which has been positively reinforced by the experience, is that one does not need a massive budget to tell an interesting story. Going forward, we’re excited to see what a bigger budget and better schedule will allow us to capture.
What do you think about the current state of Sci-Fi in film and TV? Meaning do you think it is easier for shows and films to be greenlit and perhaps more importantly in the case of shows are networks now more likely to give genre shows
RYAN: I think the industry is going through a unique shift right now. There are so many new avenues opening up, with each of the streamers battling for dominance. It’s positive news for creators of content. Is that making it easier for show and films to get greenlit? Hard to say. Even with the new avenues, I think it still all comes down to the quality of the work. We’re striving to keep creating innovative, thought-provoking content, in the sci-fi space and others.
TONY: I think the world is hungry for intelligent, cerebral science-fiction. For us, there’s nothing like sci-fi to bring up societal issues that still need solving. From Black Mirror to Ex Machina, science-fiction allows us just enough distance from our everyday lives to provide context to the challenging questions. We’ll keep asking those questions and exploring them through story.
INTERVIEW WITH ADRIAN GLYNN MCMORRAN
What first attracted you to the role of James?
ADRIAN: Tony (director/co-writer) and I made a music video in 2012 for my song “Seven or Eight Days‘, which was almost like a prelude to Volition. Even though he wasn’t called ‘James’ yet, the look and feel of the character I played in that video was basically an early version of the Volition character (i.e., broody a.f.) — someone haunted by his past trying to understand the crazy and surreal things happening in his present. Over the years, Tony kept bugging me every time he and Ryan had a new draft to read, so I was pretty sure that at some point in the history of the world the script would be done and I could finally do this project with the Smith brothers.
Did you do your own stunts?
ADRIAN: I sure as heck did! I was especially proud of my flying back roll across the motel bed. I guess a couple years of amateur peewee gymnastics really paid off.
What was the audition process for this role?
ADRIAN:
It went something like this:
Tony: Hey Glynn, you wanna play James?
Me: Will you pay me millions?
Tony: No, but we won’t make you read for it.
Me: You got yourself a brooder.
You’re also a musician how do you manage your time between your two roles?
ADRIAN: I don’t know. Sometimes I don’t manage at all. Both professions require an enormous amount of existential angst but they are slightly different flavours of existential angst, so maybe that’s what keeps me going; the variety. Of angst.
What do you think Volition does that appeals to viewers as it wins awards across Festival season?
ADRIAN: We’re all really proud of the attention the film is getting, especially since it truly felt like a labour of love to everyone involved. I’m just happy viewers can understand it! Believe me, there were many times on set when nobody knew what the hell was going on in the story except for brainy Tony, so when people started seeing it and getting it, that was very gratifying. I think people like having their minds bent a little and I think this film gives them that in a very new and layered way.
INTERVIEW WITH MAGDA APANOWICZ
What was the audition process for this role?
MAGDA: Mr. Tony Dean Smith sent me a Twitter DM asking if I’d read his and Ryan’s script. He had been thinking of me for “Angela” the past few years. I told him “I’m in!” Tony laughed and asked earnestly, “read the script first”. My lack of hesitation was the trust I found in his passion. Not to mention we worked together another lifetime ago when I was 18-years-old, in film school. I loved his energy then and his ease in directing. I knew I wanted to work with TDS again!
You’ve got quite a Sci-Fi filled resume. Do you think that Sci-Fi and genre TV & Film were offering more depth in terms of female roles as we see more recently the rest of Hollywood trying to catch up?
MAGDA: Vancouver has always been a mecca for Sci-Fi. Be it our gloomy sky’s and abundance of haunting forest or the Sci-Fi network based most of their shows in Vancouver. Either way, there was a lot of genre themed auditions I would go for, growing up. I have found, genre shows to be an asset to an actors training. ‘How do you bring a fantastical concept into a relatable story?’. As an actor, realizing the ‘out of our reality’ storylines are often metaphors for life. Finding the truth, the pain, the fight that people struggle with in their everyday life. I agree fully, Sci-Fi and Fantasy is where we have seen strong women being portrayed, first. I’m excited to see where Hollywood lands on the depiction of women and our parts in the world.
Fans of Sci-Fi TV will have seen you take on multiple attackers on Continuum were you hoping to show off those fighting skills on Volition?
MAGDA: Any project I have an opportunity to be physical or potentially do stunts, I am pleased as peach punch. I grew up loving Jackie Chan movies and respecting Bruce Lee’s fight skills. Actually, when I first started acting (in my teen-hood) I had debated on going down the path of the Stunt World.
What is your favourite thing about Angela?
MAGDA: That she never gives up. Chip on her shoulder or chipped nail polish, she’s a fighter. The conviction in her loyalty. If she cares or loves you, you will be a part of her fight.
What keeps Angela from running when things get crazy and then crazier? MAGDA: Back to my point above. James becomes a part of her fight. The two both felt like they knew each other before they ever met. That thought ‘I think I loved you before I ever met you’. When you find that person in life, you stick through things others might not.
What do you think Volition does that appeals to viewers as it collects awards across Festival season?
MAGDA: I’d have to say it’s the mix between good story telling in adventure with characters I can relate to and am invested in. A rollercoaster of emotions, a flavor of 80’s fun laced with sweaty bloody heart and mobster sheen… strap me in, I’m down for that ride.
How far did you or the writers take Angela’s backstory? How much of that can then be brought into the performance?
MAGDA: I’d say there was a combination of what Tony and Ryan saw as Angela’s backstory, then filled in the performance with my interpretation. Going in, knowing Tony saw me as his Angela for while made me a bit nervous to live up to his hopes but rumor has it, he loves what I did with Angela. Haha “you really brought her to life”. I think I got a sticker or maybe it was a cookie.
What does Angela see in James a guy who most might see as a bit of a screw up?
MAGDA: Partially just that, I think most people have always seen Angela as a screw up. Here’s a girl that trusts no one and feel like she’s always being used by someone. Runs into this Asshole. Two broken souls who saw a part of themselves in each other. I think that makes a twizzler. What can I say, She got dem butterflies when she saw that boy knocked on his ass with a bloody nose.
PIP ELLWOOD-HUGHESAUGUST 25, 2019
James (Adrian Glynn McMorran) has the gift of clairvoyance and is able to see things before they happen, making him a useful asset for criminal Ray (John Cassini) and his henchmen Sal (Frank Cassini) and Terry (Aleks Paunovic). Reluctantly agreeing to escort stolen diamonds, James is rocked when he has a vision of his own death. Assisted by Angela (Magda Apanowicz), a woman he’s just met but has seen frequently in his visions, James tries to prevent his death.
Volition is from director Tony Dean Smith who co-wrote the screenplay with Ryan W. Smith.With its feet firmly in the science fiction genre as opposed to horror, that makes this an unusual choice to be shown at Arrow Video FrightFest. For the first half an hour the film takes a little time to find its feet and you think you’ve got a very definite handle on what’s unfolding on screen. It’s fair to say that there’s little in the way of surprises during that time but then out of nowhere the film throws you completely off track with a rather clever twist.
I don’t want to divulge anything about the twist as telling you there’s a twist is a big enough spoiler. What I will say is that the twist changes everything and the film is much better for it. Until that point it feels like the film is a pretty formulaic crime drama with a supernatural edge but the twist turns it from watchable to utterly compelling. It’s helped by a superb central performance from Adrian Glynn McMorran, who really leaves nothing behind as James. He is frequently fearless but always sympathetic and he’s an actor I’ll be keeping an eye out for in the future.
Perhaps where the film could have been tighter is with its run-time. While the film is only 91 minutes long, the twist that kicks off the plot device for last hour becomes a little repetitive. I get that it was showing you James’ desperation with his actions but I could have done with around 10 minutes less. That being said, it does give a little extra screen time to both Magda Apanowicz as Angela and John Cassini as Ray, which is welcome. Both actors are strong in the film and they acquit themselves very well.
I’m aware that this might be one of the vaguest reviews I’ve ever written but to reveal the twist would be a huge disservice to the film-makers. Not being able to talk about it makes it very hard to say much at all but if you like film’s that challenge you and change your perception frequently, then Volition is for you. It may not be a perfect film but there’s plenty here to keep you hooked and the film-makers have done a good job of turning a seemingly pedestrian crime caper into something much more.
Cast: Adrian Glynn McMorran, Magda Apanowicz, John Cassini, Frank Cassini, Aleks Paunovic, Bill Marchant Director: Tony Dean Smith Writers: Tony Dean Smith, Ryan W. SmithCertificate: TBC Duration: 91 mins Released by: Smith Brothers Film Company
Perturbadora, intrigante y cautivadora.
Vamos a ir directamente al grano, Volition es una película de ciencia ficción. Nos decidimos a hablar de ella por la estructura narrativa que pasa rozando el género de terror y por algunos de los ingredientes que la componen. De hecho toca de refilón algunos elementos vistos innumerables veces en el mundo del cine y que tienen la particularidad de no entorpecer en nada la coherencia de una historia que podríamos calificar de demencial. Entre ellos la presencia de un mad doctor, cierto aire a una road movie y un amargo y atrayente regusto de oscuro y descarnado thriller.
James es un hombre visionario. Entre sus alucinaciones hay una que le aterra, ver su inminente asesinato. Todo lo que hace parece que le va en contra para, al final, tener que tomar una drástica decisión.
Estamos ante un film que podríamos calificar como redondo, en todos los sentidos, aunque destaca sobremanera un guion que raya la perfección. Los hermanos Smith (Tony Dean, Ryan W.) sin duda han encontrado la manera de intrigar al espectador, dejarlo atónito, hacerle abrir los ojos como platos y que acaben deseando que algo de luz aparezca en la espesa trama con unos personajes dibujados a la perfección, con el mérito de no convertirlos en estereotipos.
Aparte de todo esto destaca la manera en que está rodada. El director, Tony Dean Smith, se decanta por hacerlo de manera turbia, alternando la acción, en unos meritorios primeros planos, con momentos de necesaria pausa para poder digerirlo todo. Tiene un toque trágico que no es que le siente mal, pero encontramos a faltar una pizca de humor colocada entre las escabrosas situaciones que aparecen.
Los que nos seguís habitualmente sabréis que no somos para nada partidarios de que, una vez transcurrida buena parte de un film, se nos vuelva a explicar todo, dando la impresión de que al espectador le falte algo de materia gris. En Volition es necesario, básico e imprescindible. Con esto suponemos que ya os vais haciendo una idea de por dónde van los tiros. Ni que decir tiene que de vueltas de tuerca hay más de una.
Adrian Glynn McMorran da vida a un James a ratos desvalido, a ratos héroe, y en otros villano, en una interpretación de altura que destaca por la convicción con que está realizada. Diríamos que es un personaje poliédrico al cual el actor saca todo el partido sobre todo en el apartado más dramático. Le siguen, aunque a cierta distancia, Magda Apanowicz (El Infierno Verde), John Cassini (True Fiction), Frank Cassini, Aleks Paunovicy Bill Marchant.
Recomendarla encarecidamente a los amantes del sci fi. No bostante, el abanico de espectadores lo podríamos abrir hasta el infinito. Volition es una obra que os dejará un gran sabor de boca, y creemos que en esta ocasión podemos generalizar.
Firma: Josep M. Luzán.
@Josep_Luzan