Movie Review: The Collective
Shots like these help to keep The Collective afloat. Photo courtesy The Collective Film Group.
How come people in movies don't just call the police? Seriously. The police exist in this world specifically for occasions when bad people are trying to do bad stuff to you. CALL THEM. What if a character in a movie needed a pizza? NEEDED it. Like, if they didn't get this fucking pizza, they were going to die. Would it be reasonable to assume that instead of calling Domino's or Pizza Hut or any one of 1,000 local slice joints, the hero or heroine would instead embark on a city-wide frantic manhunt for the correct sauce, cheeses, dough, and toppings, all while evading those pizza-haters intent on their demise? No. It probably wouldn't be reasonable to assume that such a scenario would occur, without groans and grumbles from the audience. So why do we put ourselves through the hassle, why do we let ourselves get sucked into convoluted twists and sub-plot after sub-plot when the solution to all the problems is just a phone call away? Probably, because getting there is more than half the fun.
Look at the Bourne franchise. A guy wakes up, he doesn't know. He tries to find out. Kablamo, there's your story. Pitch it, sell it, and walk away a millionaire. Or maybe watching Bourne take a guy off a moving motorcycle with a rolled-up newspaper is the really interesting part, and the rest just gets you there. Well then, the problem becomes: making the 'there', the chase for the toppings, cool enough that the the rest doesn't need to matter much at all.
This is the unfortunate downside to many independent films; the parts that are supposed to carry us may not be strong enough to do so, leaving the weaker moments to take on more of the load. With The Collective, this seems to be the case, which is unfortunate considering how well the film is shot.