Talk about a sobering thought: one unfathomable accident becoming a galvanizing moment to confront the countless other unfathomable accidents that have rocked these people’s lives for years. Adler), this current predicament may actually end up some way to get them to open their eyes and acknowledge the pain they’ve been trying to stubbornly push through (to their detriment). Between Cody using this farm job as an escape from a reality that sees him fatherless and unappreciated by his over-worked mother (Jill Paice’s Valerie) and his boss Junior (Jim Parrack) barely having the time to keep things running when he must maintain a vigilant eye on his dementia-ridden father (Chris Ellis’ Mr. It means drawing these lives as a struggle from start to finish-the kind that wouldn’t necessarily change by removing this specific incident. That means injecting other details of rural American life from alcoholism, small town familiarity, jurisdictional feuding, and mental health. Rather than provide context through exposition, the filmmakers must instead do it on the fly via quick jolts of melodrama pushing into the centerpiece tragedy’s orbit. Whereas most disaster films (because that’s ostensibly what this is as far as the rescue mission genre goes) have ample time to introduce their characters, the low budget nature of this production and the fate-fueled “Hand of God” messaging that demand there be no clear-cut notion of “blame” means corners have to be cut. And we dread what’s next.īurnette and screenwriter Jason Williamson have crafted this taut seventy-five-minute thriller from real life accounts of how it happens, why it’s possible, and the protocols in place that have sadly proven unlucky in more than half the entrapment cases that have occurred the past half century in America. The instant we hear the mechanical whirr and recognize that the floor has altered from solid to sand, however, we understand how dangerous this job that so many of us take for granted truly is. We think everything will be fine as he, Sutter (James DeForest Parker), and Lucha (Danny Ramirez) walk out onto the surface of a half-filled cylinder of corn because they’re laughing and talking and doing what they’ve done many times before. While it’s one thing to imagine terror at night resulting from some unknowable or unbelievable supernatural monster, it’s another to know the fate of young Cody (Jack DiFalco) is something everyone working around grain silos understands as a risk if not the cautionary tale of someone close. To those like the characters on-screen, it’s a sobering reality. For us the nightmare is an abstract fluke. That’s a crazy stat and yet those of us who’ve never set foot on a farm would still be ignorant to it without a piece like this to bring it to our attention. As the text that appears right before the end credits states: one person has been victim to such incidents approximately every fifteen days since the 1960s. Because beyond creating a captivatingly suspenseful premise with which to build a plot, grain entrapment is a significant enough issue to demand a path towards awareness as much as cinematic entertainment. The After School Special vibe at the back of Marshall Burnette’s Silo isn’t a bug.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |