It cannot be overstated how much the first few minutes set the tone for this movie: 80s rock and hip-hop on the soundtrack and reflected in the score, and 80s aesthetics in the art direction, costume design, and hair and makeup; the sensibilities of 80s teen comedies in the writing, filtered through the lo-fi production values of a very indie venture; the spectacle and choreography of the new medium of music videos to kick off the length, appearing regularly throughout as a dominant component of the storytelling, and quite reflected in a lot of the choices generally of the visuals. Barely has 'Daredreamer' begun and there's so very much to digest, to the point that one almost needs to pause to collect themselves. And yet there's no disputing the wonderful imagination that went into this from every angle, nor the hard work and earnest effort, and for as wild as the viewing experience is, it's also tremendously fun right from the very beginning. It's cheesy, yes, and easily dated, but this is a picture built purely for silly entertainment, and it's hard to fathom anyone not having a good time here unless they're, I don't know, allergic to amusement. As far as I'm concerned this is fantastic, and to be honest, urgently underappreciated!
At its core this tells a very familiar story about an outcast who struggles with the social drama of high school in a town where he doesn't quite fit in. Yet filmmaker Barry Caillier and co-writer Patricia Royce dress up that story with fabulous musical stylings, and at that very modern (contemporary) vibes of the artistic format that MTV introduced into the world eight years before. Protagonist Winston's frequent daydreaming makes aesthetic reference to various programs on television in the 80s, and primarily draws from music videos as influence. With this in mind the title was actually surprisingly ambitious, for the narrative approach means a steady stream of changes in wardrobe, hair, makeup, filming locations, and sets, not to mention significant stunts and effects. In fact, one rather has to wonder how the producers found the financing to make this sans studio involvement, for the deliciously frivolous blend of action, adventure, music, and comedy (and, yes, romance) that Caillier and Royce conjured looks and sounds terrific in every capacity, with an abundance of complex visuals that really wouldn't look out of place in the most outrageously colorful side of fare from the same timeframe. All along the way it's readily evident that all involved were having an absolute blast, and it's all but impossible as a viewer not to share in that marvelous joie de vivre.
If a marginal step down from Top Of The Line Major Studio Work, what here is anything less than excellent? I could say that David Lanz and Paul Speer's original music is a top highlight of these 100-odd minutes, a tent pole of the extravaganza, and that is unquestionably true, just as it is of Wade Madsen's gleeful choreography. Yet much the same utmost spirit of high-flying mirth, and high praise, extends no less to Christopher Tufty's cinematography, Karen Thorndike's editing, Caillier's direction, the lighting - and yes, the stunts, effects, costume design, hair, makeup, filming locations, and art direction. The plot is as brilliant as it is lighthearted, yet with kernels of major sagacity dancing around the edges: a reaction to resurgent, regressive conservativism a la Reaganism as the people considered "dangerous" aren't those presenting a risk to life or limb, but merely those who are different, and who fail to conform to rigid, enforced norms and values; the struggle against oppressive systems, and acts of resistance, simply by being true to oneself; the agency and liberation of having a dream (whatever definition thereof is relevant), and moreover of sharing that dream, and pursuing it; and more. The characters and dialogue may be fairly typical of this feature's nearest brethren, but the flavoring they are lent by the extraordinary creativity makes these aspects feel fresh and new. And as to the scene writing, well, every passing moment is an opportunity for all involved to explore the furthest reaches of their artistic minds, and they do so to the greatest extent of their skill and intelligence, with stellar results across the board.
It may come across early on that some of the acting is a tad Lesser Than, though in all sincerity such perceptions are all but forgotten as the length advances. Even more the point, to whatever extent the cast may fall short in strict terms of their abilities, they more than make up for it with stupendous heart and authenticity, pouring all of themselves into every passing moment. Whether a scene is built for comedy, action, or heartfelt reflection, the cast unreservedly embrace the energy of it all and give performances that reflect the passion, mirth, and good will of the production. Dear Billy Burke may be the cast member to hold the most recognition for audiences thirty-plus years on, but those of less renown are just as splendid: Whitey Shapiro as the hard-nosed teacher Mr. Bigley, or Thomas Arthur and Jim Hechim who join Burke as members of "The Three D's"; Michael A. Westwood, with his softly amiable representation of supporting figure Zach, or Adam Eastwood as boisterous best friend Max. Above all, it's a shame that Alyce LaTourelle seems to have few credits to her name, because I think she's a pure delight as Jennie - and likewise Tim Noah, playing Winston, whose obscurity is matched only by the wholehearted commitment and range he illustrates in the lead role. While I have no especial notes on the particulars of the acting, ultimately I don't think any such discussion thereof even really matters, for the vitality that the actors bring to the proceedings even down to the smallest supporting parts is paramount to the totality of what 'Daredreamer' is.
Well and truly, this goes far beyond the highest expectations that I might have had before watching, without really knowing anything about it. The premise sounds enjoyable, yet once we press "play" the journey that the film takes us on far outpaces whatever we could have anticipated. There are points of comparison, perhaps, but the sum total is something original and vibrant all its own: unexpectedly meaningful for what the storytelling has to offer, and captivating and invigorating for the sheer lively pizazz of the whole affair. In every regard this is superbly well made, and I think it easily stands toe to toe with the best that the 80s served up for fare of such a tone (and, if we're speaking truthfully, fare of other varieties). More than that, I dare say that when all is said and done this is surely one of the best little movies that too many people have never heard of. The writing, direction, acting, craftsmanship, and music alike are all outstanding, to the point that when I was feeling tired and thought I was ready to shut my eyes for a while, I started watching this and instead felt myself completely rejuvenated. Of how many pictures can one say the same thing?! Suffice to say that I'm unbelievably happy with just how good 'Daredreamer' is, and I'd be remiss not to give a blanket recommendation. No matter who you are, this is a hidden gem that's not to be missed!
At its core this tells a very familiar story about an outcast who struggles with the social drama of high school in a town where he doesn't quite fit in. Yet filmmaker Barry Caillier and co-writer Patricia Royce dress up that story with fabulous musical stylings, and at that very modern (contemporary) vibes of the artistic format that MTV introduced into the world eight years before. Protagonist Winston's frequent daydreaming makes aesthetic reference to various programs on television in the 80s, and primarily draws from music videos as influence. With this in mind the title was actually surprisingly ambitious, for the narrative approach means a steady stream of changes in wardrobe, hair, makeup, filming locations, and sets, not to mention significant stunts and effects. In fact, one rather has to wonder how the producers found the financing to make this sans studio involvement, for the deliciously frivolous blend of action, adventure, music, and comedy (and, yes, romance) that Caillier and Royce conjured looks and sounds terrific in every capacity, with an abundance of complex visuals that really wouldn't look out of place in the most outrageously colorful side of fare from the same timeframe. All along the way it's readily evident that all involved were having an absolute blast, and it's all but impossible as a viewer not to share in that marvelous joie de vivre.
If a marginal step down from Top Of The Line Major Studio Work, what here is anything less than excellent? I could say that David Lanz and Paul Speer's original music is a top highlight of these 100-odd minutes, a tent pole of the extravaganza, and that is unquestionably true, just as it is of Wade Madsen's gleeful choreography. Yet much the same utmost spirit of high-flying mirth, and high praise, extends no less to Christopher Tufty's cinematography, Karen Thorndike's editing, Caillier's direction, the lighting - and yes, the stunts, effects, costume design, hair, makeup, filming locations, and art direction. The plot is as brilliant as it is lighthearted, yet with kernels of major sagacity dancing around the edges: a reaction to resurgent, regressive conservativism a la Reaganism as the people considered "dangerous" aren't those presenting a risk to life or limb, but merely those who are different, and who fail to conform to rigid, enforced norms and values; the struggle against oppressive systems, and acts of resistance, simply by being true to oneself; the agency and liberation of having a dream (whatever definition thereof is relevant), and moreover of sharing that dream, and pursuing it; and more. The characters and dialogue may be fairly typical of this feature's nearest brethren, but the flavoring they are lent by the extraordinary creativity makes these aspects feel fresh and new. And as to the scene writing, well, every passing moment is an opportunity for all involved to explore the furthest reaches of their artistic minds, and they do so to the greatest extent of their skill and intelligence, with stellar results across the board.
It may come across early on that some of the acting is a tad Lesser Than, though in all sincerity such perceptions are all but forgotten as the length advances. Even more the point, to whatever extent the cast may fall short in strict terms of their abilities, they more than make up for it with stupendous heart and authenticity, pouring all of themselves into every passing moment. Whether a scene is built for comedy, action, or heartfelt reflection, the cast unreservedly embrace the energy of it all and give performances that reflect the passion, mirth, and good will of the production. Dear Billy Burke may be the cast member to hold the most recognition for audiences thirty-plus years on, but those of less renown are just as splendid: Whitey Shapiro as the hard-nosed teacher Mr. Bigley, or Thomas Arthur and Jim Hechim who join Burke as members of "The Three D's"; Michael A. Westwood, with his softly amiable representation of supporting figure Zach, or Adam Eastwood as boisterous best friend Max. Above all, it's a shame that Alyce LaTourelle seems to have few credits to her name, because I think she's a pure delight as Jennie - and likewise Tim Noah, playing Winston, whose obscurity is matched only by the wholehearted commitment and range he illustrates in the lead role. While I have no especial notes on the particulars of the acting, ultimately I don't think any such discussion thereof even really matters, for the vitality that the actors bring to the proceedings even down to the smallest supporting parts is paramount to the totality of what 'Daredreamer' is.
Well and truly, this goes far beyond the highest expectations that I might have had before watching, without really knowing anything about it. The premise sounds enjoyable, yet once we press "play" the journey that the film takes us on far outpaces whatever we could have anticipated. There are points of comparison, perhaps, but the sum total is something original and vibrant all its own: unexpectedly meaningful for what the storytelling has to offer, and captivating and invigorating for the sheer lively pizazz of the whole affair. In every regard this is superbly well made, and I think it easily stands toe to toe with the best that the 80s served up for fare of such a tone (and, if we're speaking truthfully, fare of other varieties). More than that, I dare say that when all is said and done this is surely one of the best little movies that too many people have never heard of. The writing, direction, acting, craftsmanship, and music alike are all outstanding, to the point that when I was feeling tired and thought I was ready to shut my eyes for a while, I started watching this and instead felt myself completely rejuvenated. Of how many pictures can one say the same thing?! Suffice to say that I'm unbelievably happy with just how good 'Daredreamer' is, and I'd be remiss not to give a blanket recommendation. No matter who you are, this is a hidden gem that's not to be missed!
