Lilli Keeve
Getting wronged in Hollywood is a tale as old as the flawed system itself. Jeffrey Scott Collins’ sophomore feature Above the Line explores the great lengths to which people go to obtain their big break. In an homage to influential ‘90s crime films such as Pulp Fiction and Swingers, the movie centers on a group of six aspirational folks who break into the home of a legendary producer, Jack Woodrow (Gregg Henry of Payback and Guardians of the Galaxy), who deceived them in the past, and attempt to steal the Best Picture awards that were rightfully theirs. Do they succeed? Well, that’s the million-dollar question.
Following a three-act structure prevalent in the heist film genre, Collins and his co-writer Jono Matt do a successful job of keeping the viewer guessing until the very end of Above the Line. There are plenty of twists and turns accelerating the plot. The main crew of characters is as follows: Princess (Sophia Ali from MTV’s Faking It), Ghost (veteran TV actor Reno Wilson), Cowboy (Letterkenny‘s Dylan Playfair), Dame (Two-time Emmy-winning Ted Lasso writer Jamie Lee), Spaceman (Homeland ensemble member Jackson Pace), and Hero (John Way of Sweet Sunshine), whose name isn’t all it’s cracked up to be but, in his own way, gets a happy ending. Woodrow has taken advantage of these characters at different times in their lives.
Above the Line is the kind of film where nothing feels off limits. Each character’s backstory and motivation for revenge is revealed in creative flashbacks that show how sleazy and disingenuous Woodrow really is, and how he earned numerous accolades by stealing their ideas. The underlying motive for the heist, and how each of these people is handpicked to participate, is even more shocking when the perpetrator is revealed. However, the ultimate twist of who the mastermind is seems a bit far-fetched and not believable. But, to be fair, most of the film operates on a suspension-of-disbelief premise.
In the particular flashback sequence involving Princess’ (her real name being Emma) first time at Woodrow’s house, she’s immediately swept up in the lavish mansion, noticing one of the many Best Picture statues in the bathroom. Later that day, when she talks about her project, Self-Made Woman, Woodrow mentions negotiations for a deal. When she’s about to leave, he says: “Speak up when you know you’re right; this town will carve you up if you don’t defend yourself.” Essentially, that one line encapsulates the survivalist mentality deeply ingrained in Hollywood, and how Woodrow sees Princess as his prey.
The characters in Above the Line embody real people but also represent stereotypes/archetypes; their lines on paper should be funny, yet fall flat in execution. At times, it proved difficult to sympathize with their plight, stemming from the larger disappointment of the antagonist reveal, which wasn’t compelling. It was entertaining to witness them navigate setbacks from left to right, never sure what might come up during their quest for retribution. The zippy, energetic camerawork of director of photography Garrett O’Brien perfectly complements the dynamic narrative movement, always keeping up with what’s at stake. The film is full of vigor, and O’Brien’s camera angles add to the thrill.
Considering this is an independent production, some technical slip-ups occur in Above the Line, such as ADR not syncing up, which may detract from the overall viewing experience. The film also touches on certain significant cultural moments, such as the #MeToo movement, and plays with other industry jargon that feels familiar yet fresh. At its core, the film is for the underdogs, exploring the darker themes behind Hollywood’s glitzy facade and how the industry protects only those above the line.
