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Los Angeles Overnight (2018)

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1:53 | Trailer
A struggling actress inherits a bevy of colorful villains after desperation (with a touch of femme fatale) drives her and her gullible boyfriend to steal big from the Los Angeles underworld.

Writer:

Guy J. Jackson
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Cast

Credited cast:
Arielle Brachfeld ... Priscilla
Peter Bogdanovich ... Vedor Ph.D.
Lin Shaye ... Cousins
Sally Kirkland ... Mrs. Chantilly
Azim Rizk ... Benny
Rest of cast listed alphabetically:
JamieLee Ackerman ... Elsa
Joel Anderson Joel Anderson ... Leading Man
Dan Balcaban ... Ralph
Julian Bane ... Wooks
Rafaella Biscayn ... Mae Mahieu
Lib Campbell Lib Campbell ... Junebug
Kate Rees Davies Kate Rees Davies ... Acting Coach
Jessica Dowdeswell ... Stacy Navel
Vassiliki Ellwood ... Tia Townsend
Carey Fox Carey Fox ... Karl
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Storyline

After years of futile struggle on L.A.'s grueling audition circuit, would-be actress PRISCILLA ANDERS is bitterly contemplating a permanent return to her humdrum hometown-until one fateful morning in the diner where she waitresses. When Priscilla overhears seedy regulars discuss a bizarre riddle that hints at hidden loot, she recruits the lovelorn mechanic BENNY to help crack the code that could fund her Hollywood ambitions. But as the pair encounter a host of colorful-but-dangerous criminals it becomes clear the loot is hot, hefty, and blood-soaked. Written by Guy J. Jackson

Plot Summary | Add Synopsis

Taglines:

Kill them with success. Bury them with a smile.

Genres:

Thriller

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Details

Official Sites:

Official Facebook

Country:

USA | Australia

Language:

English

Release Date:

20 March 2018 (USA) See more »

Also Known As:

Los Angeles Overnight See more »

Filming Locations:

Los Angeles, California, USA

Company Credits

Production Co:

High Noon Films See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
See full technical specs »
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Did You Know?

Soundtracks

Bam Bam
Written by Mark Harman
Performed by Restless
Courtesy of Bluelight Records
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User Reviews

 
meh noir
9 March 2018 | by ferguson-6See all my reviews

Greetings again from the darkness. Low budget independents must be analyzed differently than a tentpole or a status-pic with money behind it. That's only fair, and in fact, quite necessary for cinematic sanity. This first feature film from director Michael Chrisoulakis is one that we might catch at a film festival, and at first glance, it appears he has done everything right. The film has a blend of familiar faces and newcomers. Much effort has gone into the stylish look of the film, and there is even unconventional music accompanying the oddball characters.

Sometimes taking all the right steps still doesn't mean the finished product will click with audiences, and that appears to be the case here. Priscilla (Arielle Brachfeld) is being treated by her hypnotherapist played by legendary director Peter Bogdanovich in a terrific opening that grabs our attention immediately. Priscilla is a struggling/aspiring actress who is also a Marilyn Monroe waitress at a crummy little diner.

Benny (Azim Rizk) is one of the diners few customers, and his motivation is less about food and more about Priscilla. One day she overhears a couple of small time crooks (led by Lin Shaye) chatting in riddles - "Apple Jacks down the rabbit hole". Financially strapped Priscilla proceeds to draw lovestruck mechanic Benny into a situation that will likely end badly.

Writer Guy J Jackson (who also plays one of the criminals) seems to try and shove all of his ideas into the script, so what's lacking is a cohesive story or any chance for viewers to connect to Priscilla - or certainly any other character. We can't even take the "big" crime boss seriously since his goal is to build some type of sanctuary that will benefit humanity. Benny does have the best line in the film when he admits, "I dance like a mechanic". Other comedic bits mostly fall flat (although a tip of the cap for the mortgage broker joke), as do most of the attempts at building suspense, due in part to an excess of groan-inducing dialogue.

The film is a noir-wannabe with some effort given towards the atmosphere and tone, but the overwrought electronic score is too generic, and the arbitrary slow-motion effects simply remind us of the lack of budget (better to take advantage of imagination). One of the worst cinematic on-foot chase scenes takes up a chunk of the film, but on the bright side, we do get the rarely seen Sally Kirkland, and it is fun to pick out the director's influences based on how a scene plays out. The jury is still out on Ms. Brachfeld. She might be worth keeping an eye on, as she has a Miranda July quality about her, though without the comedic instincts. First films are challenging, and there might be enough here to push Mr. Chrisoulakis on to better projects.


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