Frank (12) an his sister Caroline (16) arrive in mythical Attic Town in Shadowland, where the Great Syndicate is ruling and robbing citizens. An army of Shadows kidnaps anyone out after ...
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Frank (12) an his sister Caroline (16) arrive in mythical Attic Town in Shadowland, where the Great Syndicate is ruling and robbing citizens. An army of Shadows kidnaps anyone out after dark and the Patrolling Thieves make the daylight miserable for everyone. Attic Town is a place where the streets have no names and there is no turning back. Not realizing that they shifted in space and time, Frank and Caroline part, looking for directions. Wandering the streets, the boy meets Donlore, a young Patrolling Thief, and trusts this somewhat shadowy figure despite his first instincts. Caroline finds herself on a farm outside of town. She soon sets on a journey to find her brother and help him realize his mistake. She has to find him before dark. When the night falls, he will remain one of the dark rulers forever and there will be no way back. In the meantime, the underground opposition of Attic Town begins to revolt. Written by
The Shadows in the film were played by dozens of highly skilled and accomplished Martial Artists, including Don Ritter - the coach of seven members of Canadian Karate Team. After the visual effects were done -- you could never tell there were people originally playing the Shadow characters. See more »
A whole different take on heroism, especially valuable for young people looking for who they want to be, and what it takes to face the dragons that this life throws in front of us.
From Jung to the Rolling Stones to Rob Brezsny, facing the shadow has been celebrated as one of the greatest things a person can do, and offer to the world.
Johanna Kern brings this theme to the fantasy genre, as teenage Frank finds out what he needs to be a hero.
My favorite characters are Revill and Donlore, both answering only to their own will, whether light or dark. Irishman Mark Whelan is perfect for the role of the returning leader of the revolt, with his accent, his fierceness, and his home country's tradition of throwing off the oppressor, which shows in his authentic body language.
The journey of Donlore and Frank shedding their amorality and finding their core values through extreme tests and simple caring, is the emotional center of the film.
Andrew Guy does an excellent job showing the transition from "I don't care about anyone" to "I will take on anything"--without shifting his essential nature. Like Richard in Shaw's "The Devil's Disciple", he is an unlikely hero led by circumstance to do what he has to do, at any cost.
Cheers to Johanna Kern for drawing out these performances--and overcoming countless obstacles to produce this work.
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