User Reviews

By a guerrilla film, I don't mean rebels in cameo sneaking around the Bolivian jungle... no, I mean it within the larger film "guerrilla film-making" of which this film is a blueprint for other low budget films to follow. Probably just as many laws were broken in the making of this movie as there were simulated (though trespassing as opposed to murder, rape, drug use, murder, did I say murder already?). It's actually all quite fascinating to watch and the behind the scenes view on the DVD is an eye-opener, giving us a rare look at what it's like to make an ambitious film like this with literally no money. Fredianelli is like the new Larry Cohen except with even less money and no guiding influence of Samuel Z. Arkoff. Hence, he gets to run amuck with no-holds-barred style of grim pessimism and nihilism not even reached by Billion Dollar Hollywood blockbusters.

The director is also the star, which can be dangerous, but here it makes him feel like the sole uncensored auteur. The plot is standard anti-hero "dirty cop" fare but it's got a few interesting twists and turns. There are a few scenes which seem technically rather rough, particularly some of the bigger shootouts. However, every now and then comes the odd scene which really cracks, such as a 100% REAL fight scene mid-film where the actors are ACTUALLY HITTING EACH OTHER and causing significant injury! The real standout scene for me was when Fredianelli chases a car (in an amazing-for-this-sort-of-budget high speed pursuit which probably broke all kinds of traffic laws) corners it on a busy street corner. Fredianelli calmly gets out of his car, walks up to the driver, and just casually guns him down with traffic blissfully continuing all around with nobody even stopping to look at what's happening! It's outrageous and refreshingly different all at the same time. A surreal fantasy which somehow manages to be more TRULY realistic than any other recent crime film.

Sure you haven't heard of it or anyone in it, but give it a watch if you come across it. It's crude, yes, but a refreshingly different welcome diversion.

Well not really, but this ambitious epic is easily the most accomplished Wild Dogs feature to date, with more authentic location flavour than all the preceding movies combined. After an explosive, gear-jamming opening scene there's a veritable whistle stop tour of San Jose on screen - restaurants, leafy streets, hotel rooms, car parks and even video arcades with decrepit 80s machines add ambiance and realism. I don't recall that most iconic WD location, the Fredianelli house, making an appearance at all which speaks volumes. The acting here is consistently excellent across the board, with plenty of new faces as well as old favourites. Fredianelli puts in his best performance yet as Dave, the corrupt junkie cop who is in bed with everyone. Literally and figuratively. Loved the guy who played Dave's grizzled boss, channelling Lawrence Tierney via Clint Eastwood out the side of his mouth. I haven't seen a performance that comically gravelly in a good while. Though I must admit to allowing myself a dry smile when he pulled up in that most girly of sports cars, an MX-5 (I think you iconoclastic Americans call it a Miata?). David Brashear pops up near the end in a small but potent role, as does the stalwart Michael Nosé, taking a break from his sterling work behind the camera. Being a rather plot-heavy potboiler, there's not quite as much insane action on offer here as we idiotic carnage diehards would expect or hope for, but when it arrives it's as well-executed and lethal as ever. The erasing of an entire hotel room full of preening jocks was a particular highlight, as was the hilarious sucker punch to the face of a hooded drug dealer. I'm all for that sort of thing. Dave's point blank headshot on fellow operative Murray (can't recall the actor's name here either but he's the one that looks like a hastily cleaned up homeless, sewn into a suit vacated by Paul Weller in 1985) is also spectacular in its nastiness, and follows a classy bit of switchblade interplay. This effort is an impressive piece of work, marred only by overlength and perhaps a few too many wordy scenes that drag out. And while they are no doubt integral to the plot, I could have done without quite so many lengthy cook-up and shoot-up scenes. Good, judicious use of music throughout, thankfully I'm not a Journey fan otherwise the image of two tranked junkies going at it on the couch would stain my enjoyment of a certain song forever. Amusing blooper reel DVD extra is a good insight into the madness/process, and demonstrates just how much effort went into this impressive creation. Filming around the interference of slang-spitting skateboarders and inopportune traffic is never easy. Especially enjoyed seeing Scott Fredianelli having to repeatedly fall to the concrete while whining about possible damage to his new clothes. Now that's dedication.

Odd title, new Wild Dogs logo, not a bad start. As I ventured further into this most recent production from talented director/actor Michael Fredianelli, I checked the length and was rather taken aback at the considerable running time of about 150 minutes. Fortunately, for the most part, the picture was able to fill that time more than well enough to sustain interest. The story, by up and coming screenwriter Todd Jurgess, revolves around Dave, a so-far-under-the-cover cop that his own people have trouble keeping tabs on him. Dave is also a degenerate, homicidal, heroin addict who doubles as a hit-man for the very people he is supposed to be infiltrating and really, this makes up his preferred profession, as well as the crux of the storyline. All of his activities related to that profession (cold assassinations, freeing whores of their painful life, continually seeking out that next shot of smack, etc…) certainly make for an entertaining, albeit dark, journey and even though the story arc never curves too much (at least up until Dave gets re-involved with his ex-partner's girl), I can honestly say I was never bored with the proceedings. I did find the girl's desire to resume the relationship slightly jarring though, and the brave pairing of the unwholesomely romantic drug montage and that famous tune from Midnight Cowboy was just weird. I appreciated the gorno-like torture sequence, an unexpected but welcome twist, and thought reliable character actor Michael Nosé filled the menacing role nicely. The final climax is perhaps a little too heavily influenced by Scarface, even down to the soundtrack, but ultimately feels like an appropriate ending, not to mention the fact that bullet-riddled deaths are almost always highly pleasing. The production values and professionalism on display in Pale Blue Balloons has come a long way since the days of Once Upon a Time in San Jose and definitely could and should hold its own on the indie circuit. The acting was almost uniformly topnotch (the outtakes were a testament of all the effort put into getting these performances) and I believe this was the most diverse ensemble of any Wild Dogs production I've ever seen. If pushed for complaints, I think Pale Blue Balloons could've benefited from a little tightening in the plot and some trimming for length but as it is, it's a powerful picture that remains true to its nihilistic themes from the first frame to the last. Good job, to everyone involved.