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Bellflower (2011) More at IMDbPro »

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Bellflower -- Woodrow and Aiden spend all of their free time building MAD MAX-inspired flamethrowers and muscle cars in preparation for an apocalypse.  But when Woodrow meets a young woman and falls hard in love, he and Aiden quickly integrate into a new group of friends, setting off on a journey of love and hate, betrayal, infidelity, and violence more devastating than any of their apocalyptic fantasies.
Bellflower -- Woodrow and Aiden are best friends who worship Mad Max and spend their time building flame-throwers and other weapons as they await the apocalypse. Their dynamic changes when Woodrow lands a girlfriend and makes a new circle of friends. When his relationship falls apart, however, Aiden and Woodrow begin to act out their dark, violent fantasies.
Bellflower -- Bellflower


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6.4/10   6,638 votes »
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Up 4% in popularity this week. See why on IMDbPro.
Evan Glodell (written by)
View company contact information for Bellflower on IMDbPro.
Release Date:
21 March 2012 (France) See more »
A love story with apocalyptic stakes.
Two friends spend all their free time building flame-throwers and weapons of mass destruction in hopes that a global apocalypse will occur and clear the runway for their imaginary gang "Mother Medusa". Full summary » | Add synopsis »
5 wins & 5 nominations See more »
User Reviews:
Bellflower or The Most Annoying Film of the Year See more (52 total) »


  (in credits order)
Evan Glodell ... Woodrow

Jessie Wiseman ... Milly

Tyler Dawson ... Aiden

Rebekah Brandes ... Courtney

Vincent Grashaw ... Mike
Zack Kraus ... Elliot

Keghan Hurst ... Sarah

Alexandra Boylan ... Mad Dog's Waitress
Bradshaw Pruitt ... Mad Dog's Bartender

Brian Thomas Evans ... Dirty Trucker
Britta Jacobellis ... Neighbor With Dogs
Ceaser Flores ... Scary Man at Party

Chris Snyder ... Tattoo Guy
Dan Dulle ... Motorcycle Owner

Jon Huck ... Himself
Jet Kauffman ... Feisty Girl

Josh Kelling ... Fancy Waiter
Ken Bailey ... Homicide Detective
Mark Nihem ... Liquor Store Clerk
Joel Hodge ... Man Peeing in Bathroom

Directed by
Evan Glodell 
Writing credits
(in alphabetical order)
Evan Glodell  written by

Produced by
Paul Edwardson .... co-producer
Brian Thomas Evans .... executive producer
Luis Flores Jr. .... associate producer
Evan Glodell .... producer
Vincent Grashaw .... producer
Joel Hodge .... co-producer
Jet Kauffman .... co-producer
Jonathan Keevil .... co-producer
Josh Kelling .... executive producer
Lenny Powell .... co-producer
Ari Presler .... associate producer
Chelsea St. John .... co-producer
Efraim Wyeth .... associate producer
Byron Yee .... executive producer
Original Music by
Jonathan Keevil 
Cinematography by
Joel Hodge (director of photography)
Film Editing by
Evan Glodell 
Vincent Grashaw 
Joel Hodge 
Jonathan Keevil 
Production Design by
Team Coatwolf 
Makeup Department
Jessie Wiseman .... key hair stylist
Jessie Wiseman .... key makeup artist
Production Management
Mark Steele .... post-production supervisor (uncredited)
Second Unit Director or Assistant Director
Lenny Powell .... first assistant director
Art Department
Joel Hodge .... artist: Medusa book drawings
Aaron 'The Dark Overlord' Smith .... fine art canvas paintings (as Aaron Smith)
Sound Department
Scott Casillas .... production sound mixer
Mark Hensley .... sound re-recording mixer
Gordon Hookailo .... sound re-recording mixer
C.J. McCree .... boom operator
Joshua Adeniji .... sound effects editor: sound designer (uncredited)
Sean Michael Beyer .... m&e re-recording mixer (uncredited)
Rusty Dunn .... additional re-recording mixer (uncredited)
Jason Gaya .... sound re-recording mixer (uncredited)
Angela Hemingway .... dialogue editor (uncredited)
Steven Iba .... adr mixer (uncredited)
Steven Iba .... supervising sound designer (uncredited)
Zach Michaelis .... foley artist (uncredited)
Chris Terhune .... sound effects editor (uncredited)
Andrew Troy .... re-recording mixer (uncredited)
Austin Tyler .... adr editor (uncredited)
Philip Biff Vincent .... chief engineer (uncredited)
Visual Effects by
Wyatt Glodell .... visual effects artist
Tony Snegoff .... stunt driver
Camera and Electrical Department
Brandon Michael Craig .... still photographer
Paul Edwardson .... gaffer
Vincent Grashaw .... camera operator
Joel Hodge .... camera operator
Jet Kauffman .... assistant camera
Jonathan Keevil .... camera operator
Ari Robbins .... steadicam operator
Editorial Department
Marc Brown .... digital film services: Alpha Cine Labs Seattle
Bevin Flynn .... digital film services: Alpha Cine Labs Seattle
Victor Franco .... digital restoration
Jannat Gargi .... digital film producer: Alpha Cine Labs Seattle
Kyle Dean Jackson .... digital intermediate supervisor (as Kyle Jackson)
Kristen Molina .... digital film producer: Alpha Cine Labs Seattle
Alan Pao .... digital intermediate supervisor
Sebastian Perez-Burchard .... colorist
Bill Scott .... senior color timer: Alpha Cine Labs Seattle
Music Department
Dwight Glodell .... additional score cues
Marcus Glodell .... additional score cues
Wyatt Glodell .... additional score cues
Joj O. Lorentz .... additional score cues
Kevin MacLeod .... additional composer
Wendy Maharry .... additional score cues
Jonathan McHugh .... music consultant
Andrea von Foerster .... music supervisor
Jonathan Zalben .... additional score cues
Transportation Department
John Benner .... car resurrection and supercharging: Medusa car
Rick Cushman .... mechanic: Medusa car Round 1
Christopher Nevarez .... car high performance tuning: Medusa car
Tony Pulido .... car resurrection and supercharging: Medusa car
Harv St. Mary .... car high performance tuning: Medusa car (as Harv St Mary)
Joe Trujillo .... car high performance tuning: Medusa car
Other crew
James Feldman .... production legal
Katie Gilkey .... production assistant
Linda Lichter .... production legal
Chelsea St. John .... production coordinator
Juard Van Dijkhorst .... production assistant
Sean Combs .... special thanks (as Sean 'P. Diddy' Combs)
Carson Daly .... special thanks
Dean Devlin .... thanks
Sarah Farrand .... special thanks
Dave Gare .... the producers wish to thank
Trevor Groth .... the producers wish to thank
Juan Carlos Guzman .... special thanks
Scott P. Hart .... special thanks
Andrew Hecker .... special thanks
Jonathan McHugh .... thanks
Joel Perkins .... special thanks
Michael Rousselet .... special thanks

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
Rated R for disturbing violence, some strong sexuality, nudity, pervasive language and some drug use
USA:106 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Dolby (Dolby 5.1)
Australia:MA15+ | Germany:16 | Singapore:R21 | UK:18 (DVD rating) | USA:R (certificate #46766)
Filming Locations:

Did You Know?

No functionality of the Medusa car was faked during filming. The real-life car is equipped with two flamethrowers, smoke screen, a bleach drift-kit, adjustable rear suspension, and 3 surveillance cameras; all controlled from the dashboard. It also has a roll cage and stow-able, fold-down back seat.See more »
Continuity: Woodrow and Aiden are sitting on the park bench, the Medusa behind them. The "MEDUSA" painted on the side of the car is a different type style than in every other scene.See more »
Milly:Dude, it's like a James Bond car for drunks!See more »
Movie Connections:
References Mad Max (1979)See more »
EnoughSee more »


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83 out of 134 people found the following review useful.
Bellflower or The Most Annoying Film of the Year, 20 August 2011
Author: Chase Katz from United States

I have to be honest here, I am barely ever compelled to come on the web and write a review for a movie with a negative thrust. For one thing, I watch all types of films, even the so-called no budget or low budget films that other people will stay clear from. In fact, just this year, I have seen all the Sundance NEXT films, some at the Sundance premiere in January, and some, like BELLFLOWER, only recently. I feel the need to clear that first, so that I'm not accused of a negative bias for ultra small films.

I had heard the buzz of BELLFLOWER at Sundance, and I missed it, and my trip to SXSW was too brief to catch, so, I waited patiently for the theatrical. Up until then, I had read many things about the movie, plenty of positive reviews, and was pretty enthralled by the trailer. I should have been a little more cautious on the get go, seeing that even the trailer was a little fishy. You know, it was extremely light on substance, but full of those great pull quotes from the likes of Peter Travers, the king of whoring a few positive lines for maximum effect. And, of course, the reviews themselves were mostly copies of one another, with a great chunk of prose spent on context based stuff like, "the film cost 17,000", or "they made there own camera's", and even, "he wrote about his own break-up". This stuff is mostly about justification and the press angle, so, I'm not going fault the work on that.

But, lets get to the actual film itself, and how this particular film outright compelled me to come on the web and give my two cents. Basically, the film is in essence, a break up movie. The lead character Woodrow, played here by the director himself is a typical "disaffected" young man, who, along with his best friend spends his days drinking, smoking and with the country boy craftsmanship of building "cool" stuff. They are seen spending time blowing stuff up at the beginning. Soon, they go out to what I assume is a dive bar, and low and behold, a cricket eating contest (in LA mind you), when we meet our lead female, the narrative conflict of the movie. We see Woodrow and soon to be lady friend Milly engage in eating crickets in slow mo, while a "cool" music track plays in the background. This is the essence of the movie. These bits of music video montage scenes are in my mind, the only respectable albeit very thin moments of the film, especially the final moments. They come and go in-between some of the most banal, and base scenes I have seen in years.

After this, Woodrow picks up Milly for a first date, and she proposes they go and eat at the most disgusting restaurant around, and guess what, Woodrow has a suggestion, but its located in Texas. So, what happens next, shoot, they go to Texas. The film carries on in this vein. I can go on, but even writing about it gets tiresome.

Anyways, to shorten this up, the relationship heads south, but for no reason other then the fact that Milly tells Woodrow that she is going to hurt him. And then she hurts him. Yup, thats it, because things go bad in relationships, but the audience is left to just assume things happen. The problem is, we are not lead to care any bit about them. All this heartbreak stuff doesn't add up, when you don't buy any of it. The film then continues to jump ahead and behind after an accident. And then things get violent, but in a pretty safe way. The film basically alludes to everything, and always in an extremely swallow, hey look at me mom kind of way. But heck, they built a "totally sweet ride brah" . With the finale going straight into film school cope out mode. I won't say anymore, so that I don't spoil the twist.

As you can tell, I did not like this movie. It felt as cliché as could be. I did not like the characters, all of whom became increasingly annoying. I did not like the writing. I did not like the acting, which goes into B level and below many, many times. And the visual style gets pretty dang boring after awhile. Note to some reviewers; spend some time on Vimeo, or Tumblr, and yeah, you got the visual aesthetic this strives for. Basically, everybody is doing that anyway, and really, swallow depth of field and especially tilt shift is boring when used for no reason other then, "to look cool". Which apply describes the hipster culture itself. It yells to be looked at, but on closer inspection, you realize that all its desires are superficial. Thats all it knows.

And that sums up the film for me. Everything done for effect, and nothing done to strive for a deeper reading. And thats the issue, because its not even entertaining. In fact, its altogether boring, but in the American style of boring, and not in the European, sophisticated, by design way boring.

I guess maybe its utility is best served as a sort of Hollywood calling card for the troupe, and for that, maybe it succeeds. But for something that I have to pay money to watch, no. And truth be told, if this was for free, I would probably pass as well.

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