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The 24th Day
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Directed by Tony Piccirillo.
A casual gay pickup turns into a nightmare in Tony Piccirillo's adaptation of his play, The 24th Day. Tom (Scott Speedman of TV's Felicity) approaches Dan (James Marsden of X-Men) in a bar, and the two hit it off. Tom brings Dan home to his apartment, where, after some idle chatter, Dan tries to kiss Tom. Tom shies away, and begins asking Dan about his sexual history. Dan eventually realizes that he's been in Tom's apartment before. They had an encounter several years ago, and Tom has a much clearer memory of that night than Dan does. Eventually, things turn ugly, and Dan finds himself tied to a chair. Tom extracts a blood sample, explaining to Dan that he just recently learned that he's HIV-positive. Tom insists that he's not gay, and believes that the only way he could have gotten the virus is from Dan. Tom goes out to have the blood sample tested, and when he gets back, he tells Dan that when he gets the results back, if Dan is HIV-positive, Tom is going to kill him. As they wait for the results, the hours go by, and Dan tries to engage Tom in conversation, to engage his sympathy, and to find a way to escape. As the two men talk and battle for control, Piccirillo flashes back to the recent past, and Tom's motives become more clear. The 24th Day was shown at the 2004 Tribeca Film Festival. ~ Josh Ralske, All Movie Guide
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RisseladaRisselada Re:Recasting smaller productions
by Risselada in Filmgaming
hasn't rated it.
"[quote user="mercurial"]I thought of some, but most only count for about 90% of the film. There is Pi, which is mostly the main character throughout the film. Anatomy of Hell, a French film featuring only two actors fornicating for most of the film. The Dreamers, which is about 3 actors hauled up in an apartment doing all sorts of sordid things. The 24th Day which has two guys, one tied up, locked in an apartment. And I was thinking The Seventh Seal, but that is only two characters for about half of the film. As for a one man show, I would definitely love to see Julianne Moore, Philip Seymour Hoffman, Molly Shannon, Peter O'Toole, and Maggie Smith. The only one man show I can actually recall is Paul Reubens doing Pee-Wee Herman at the Groundlings Theater (I think it was there) which is probably one of the funniest performances ever. I'd love to see him do something new.[/quote] Huh, I've never heard of Anatomy of Hell. The description doesn't sound like an endorsement, but I wonde ... " [More]
mercurialmercurial Re:Recasting smaller productions
by mercurial in Filmgaming
is neutral about it.
"[quote user="Risselada"] Wow people really seem to get off on this group. I'm amazed. Where did everyone come from? Well it's almost too much mental energy for me to think up my full casts for all of the proposals you've made so far, much less spend the time looking over ever single submission. So I am proposing movies with smaller casts so it's easier. First of all what about recasting Secret Honor. There's only one actor in the whole thing, Phillip Baker Hall. Then I tried to think of other movies that only had one actor, and all I could think of was all of Spalding Gray's movies. But how could you possibly have someone else do Spalding Gray's material? It's basically a personal true story, so it wouldn't make sense for it to ever be remade. Then I surprised and saddened to realize I couldn't think of a single other production with only one actor. I did a search and actually found a movie called An Evening of Edgar Allen Poe starring (surpise) Vincent Price alone. The mo ... " [More]
jlgdrdjlgdrd True Truth: The 24th Day
by jlgdrd in Wicked Fun
hasn't rated it.
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"Pretty early in The 24th Day, it becomes apparent it was taken from a play, a dodgy proposition at best. Adhering to a key location, as plays often do, can be a successful approach, or it can crash and burn. Very slowly. It depends on the nature of the piece. The 24th Day has, essentially, two characters and it can be difficult to transfer a prolonged confrontation to the big screen. In a theater, we can see how they stand in relation to each other, our eyes instinctively find the face or physical dynamic that warrants our attention. In a film, the director chooses for us, deciding whether it's more important to see the expression of the man speaking or reacting. Tony Piccirillo, who wrote the play in question, and directed the film, has here carried it off. Scott Speedman (Tom) and James Marsden (Dan) hold our focus, without Piccirillo's shot manipulation feeling intrusive or neutral. Which, of course, is exactly the idea.Like Rashomon or 13 Conversations About One Thing, The 24th ... " [More]
 



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