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So much average

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Objects in the Mirror Are Further Than They Appear (2003) *** (out of 4) This here is an interesting short film from director Gorman Bechard. The images in the film are all still photographs and we have a narrator basically telling the story as if she was reading it from a book. The story involved a prostitute who goes on a job inside a motel when the man attacks her. I won't spoil what happens from here but this is a rather interesting film on many levels. I think it actually works a lot better on a second viewing once you're familiar with the style that it goes for. With the still photographs you're really not getting a typical movie with the moving images. Instead the still images work well against the narration because it really is as if you're reading a book and capturing various still images in your head.

19-year-old college student Midori (fetching brunette Danielle Gilad) works as a prostitute on the side in order to raise additional money to supplement her scholarship to Yale. Things get nasty and violent when her latest john turns out to be a crazed religious fanatic. Writer/director/editor/cinematography Gorman Bechard primarily tells the grimly compelling story through a striking series of stark black and white photographs; this blunt, inventive and unconventional no-frills minimalist approach really gets under your skin and leaves a haunting lasting impression. Moreover, Bechard handles the sordid subject matter with admirable taste and restraint; a fair share of what transpires is left to your imagination and is that much more powerful as a direct result of this. The plot has an extra unsettling edge to it because it's so frightfully plausible; it's the sort of thing that could actually happen and probably does indeed occur all the time. Maya Rossi's spare, moody score and Mary Remington's grave, husky narration both further enhance the overall sterling quality of this exceptionally potent and disturbing knockout.

I wasn't sure what to expect. Another film made of stills like THE PRETTY GIRL. But this one surpasses even that. With an ending that will have you staring at your computer screen in awe. Truly frightening, depressing, the photography is spectacular as always, great use of sound...a work of art.