Tad Pole . . . THAT would be news in America, because our more religious folk would want the resulting embryos locked up as "bad seed" in their state penitentiary. On this side of the Atlantic we've always known that there is no minimum age for EVIL. Everyone reads Ray Bradbury's creepy short story, "The Small Assassin," in school. Everyone has seen THE OMEN. Everyone knows about the lethal Flint Kindergartner (a classmate dissed him, so the next day--with "premeditation"--he brought his uncle's gun to school and shot her dead). America switched to executing citizens by lethal injection because Five-Year-Olds didn't fit in the electric chair. Only in a naive country such as England would a film maker waste 82 minutes of screen time debating how long to punish a sex maniac responsible for a torture\mutilation murder committed at age 11. Even if the Perp were 5 years old, all of us Yankees can hear Nancy Grace, Jane Velez Mitchell, and every other TV Wise Woman screaming in our ear "Till Hell freezes over!" If any Americans besides me are lured into viewing ABDUCTED: KIDNAPPED AND BRUTALIZED, they will marvel at how quaintly old-fashioned the English are, debating issues we and most of the world settled in the 1600s.

David Starr I've been keeping an eye on developments in the UK and there's been a definite shift in independent film of late as a handful of writer/directors try to usher in a new perspective of what Brit flick actually stands for. The creative force behind Abducted: Kidnapped and Brutalised (David Bryant), the US release title, has delivered a taught, claustrophobic 'why-dunnit' with minimal cast, minimal locations, and a dialogue heavy script that is unsettling, threatening, and malevolently violent beneath the obvious captivity of the protagonist of the story. Clearly shot digitally it makes use of available lighting and minimal set requirements, very low budget certainly, but not without a flair and passion that many filmmakers with more of everything: more money, more equipment resources, bigger crews, and more production backing are sadly devoid of. Just goes to show what can be done with a solid script and a heap of natural talent.*SPOILERS* Chris McMahon is kidnapped on his wedding day by a gang of masked assailants, bound, gagged, beaten, and dumped into the back of a transit van before being driven away to an isolated location prior to what seems like an execution. On the journey to the place of his ultimate demise he is interrogated by two of the gang members who lay out the reasons for the abduction. Despite constant proclamation of his innocence (relating to a rape he apparently committed when he was 11 on a girl of 4)the gang members seem reluctant to believe anything but a full and frank confession fro m the man they think him to be, a bloke called Neil. How this story plays out, with beat downs, blindfolds, gags,, and the threat of death, is carefully choreographed with a final confrontation involving Chris' new wife , the kidnappers, and him - the level of expectation rises exponentially to a thrilling climax.Shot, as I said, digitally, what makes this thriller a little unusual apart from all the stuff mentioned, is the fact it is broken down into only 3 x single and very long takes, almost documentary style, as if the resultant tape is some kind of rudimentary confession evidence. It's a clever set up and the execution is very good. It isn't perfect by any stretch of imagination but neither would the filmmakers claim it to be. It is supposed to be rough and ready - it's being made by the kidnappers (1st PPOV throughout suggest another kidnapper recording the action) after all. That said however it is a very accomplished piece of storytelling and deserves a viewing. It is released in US as Abducted: Kidnapped and Abused, though I have to say the original Brit title "Victims" was much better and alluded to a wider impact - many victims (as the story finally reveals)- although I have heard that other titles are being considered including "79 Minutes" which I absolutely hate as an idea. It means nothing. There are great performances across the board from the small cast, none of whom are well known faces from cinema or TV as far as I can gather. But they all deliver on point and do both themselves and the film huge justice.So, if you're tired of the usual gangster, hooligan, zombie fare of British independent cinema and want to watch something that is unsettling rather than horrific, and is right out of left field, try Abducted: Kidnapped and Brutalised. The cover art is misleading, because it isn't brutal (not physically that is) in a Hostel or Saw kind of way that audiences seem to expect these days. And it certainly isn't a "Captivity" either - but then on the sort of low budget this film was made on it was never trying to be a reflection or homage to any of those anyways.

David Malcolm British director David Bryant has been a finalist in the CUT short film festival and released the indie horror DEADWOOD along with his co-directors Sebastian Smith and Richard Stiles. Now Bryant strikes out on his own armed with a camcorder and a concept that brings a new take on the recent spate of found footage films.On what should be the most memorable day of his life, his wedding day, a groom is thrown into the back of a van by masked kidnappers and subjected to a barrage of questioning from his captors seeking answers to a truly memorable day, memorable for all the wrong reasons. The entire event is recorded by the kidnappers as one continual take with the film presented as "found footage".Any aspiring film-maker will have read the advice from Robert Rodriguez to make a film with what you've got. Where as most interpret this as a camcorder, friends and a bottle of ketchup Bryant has utilised his access to talent, creativity as well as the camcorder and friends resulting in a challenging piece of film making both on technical and narrative levels. Flourishing out with the constructions of Hollywood and instead embracing the even more constricting DIY indie world VICTIMS steps beyond the coral of recent found footage films that have found themselves herded in by ghost stories and possession tales and utilises the best tool available to any film maker; originality. The constant "one take" is executed perfectly with Leighton Wise' camera work balancing perfectly between swaying disorientation and amateur style zoom and pans without ever becoming sickening and the naturally occurring sound design really sells the real life angle on events and yet seems intentional. The cast are largely undiscovered but could put professional and paid working actors to shame particularly the lead John Bocelli who carries the weight of the whole film with total believability and conviction.A kidnap drama that escalates itself with a topical subject matter solidly founded in outstanding performances and modern film making techniques VICTIMS is the solo indie debut of the British director to watch. Nolan and Edwards have led the way Bryant could be the next big name you're paying at the multiplex for.

Christian I had little expectation as I screened the World Premiere at Montreal FantAsia Film Festival. As the slow-paced story played out however, I got everything I could ask for from a low budget thriller. It is thought-provocative, nuanced, different and brings out tension and emotions satisfyingly while still leaving unanswered questions.David Bryant wrote a solid screenplay, got some actors to rehearse between them and add their take to the story and then basically filmed three long takes theatre-style, only with a cameraman as an eye-witness participant, in three days in a unique location. He put his own money to create the film on ultra-low budget and had actors and DP to opt for a later profit-sharing scheme to minimize upfront cost. Yes, this film was created with less than 3000$. David later joked that his plane ticket to Montreal was the now the biggest cost he had to incur.Budget consideration aside, this movie lacks nothing. The one-take and some time jerky camera serve the story and make you feel the immediacy and intimacy of the characters. There are a few welcomed surprised, but the story stays in the grey spectrum (like the colour correction) the whole time. We are left with a lot to ponder and discuss.Special thanks to David for sharing his thoughts and experience in the Q&A and outside the theatre in an informal discussion of this fine piece of art.