Gaston has found a genre-gay detective stories-that are in short supply and tries to fill a niche.
There´s also a side nitpick I wanted to mention: Michael masquerades as Kyle to everyone around him. He even beds an impossibly perky twink (J. Matthew Miller) based on Kyle´s identity. Does it ever occur to him to come clean with anyone except Abigail? Not at all. In fact, it´s the one dangling plot element left at the end of the film. Sure, seeing Michael make amends to a litany of characters might have been tedious, but at least show one to demonstrate he has a conscience.
To its credit, the production looks more expensive than it probably was, with the copious use of exteriors and several scenes involving a good number of background extras. There is little to betray the lack of a true budget in the production values. (However, listening to the commentary track, the shoot sounds like a reunion of friends with the side benefit of making a movie.) And, as I already mentioned, there is no end to the naked flesh on display. Gaston knows his audience well.
VIDEO:
Remember how I said the look of the film was of generally good quality? Either the transfer or the original elements are the issue here and, based on previous TLA Releasing product, I don´t think the problem is in the transfer process. From the outset, the film is covered in a layer of grain, turning the blacks into hues of gray and dancing all over day scenes. Other scenes appear too dark, though this isn´t the fault of the video specs. The details can be muddled at times, a criticism I´ll repeat in a moment. On the positive side, though, other standard video issues don´t plague the film. And with a larger budget, I´d wager the finished product would look better, too.
AUDIO:
A singular option here, English 2.0. As with portions of the video, this track comes across as muddy in some respects, as if a looping session was left out of post production. Background noises and the occasional music cue overpower the dialogue. Upper level sounds at distorted at the top of their range. It´s not a terrible track; the speakers are kept relatively active with activity.
EXTRAS:
The crown jewel here is a commentary with Gaston and editor Farrell Lever. Cast members come and go via phone for the duration (Graham, Stickles, Miller) as well as composer Houston Bernard. Gaston is the only person with any type of insight in the film; sadly, even he gets taken off topic and distracted by the talking with friends again. A lot of time goes into pointing out crew members and friends in each shot, along with various locations.
A short film produced in 2006 shows up next, entitled "Will You…" Running eleven and a half minutes, the trials and tribulations of two lesbians dealing with a marriage proposition manages to be sweet, endearing and obvious at the same time. In the Unrated Photo Featurette (19:17), we´re given every single photograph taken for the sequence of photos on Kyle´s memory card. It turns out to be entirely too long for one reason: we assume the best stuff has made it into the finished film. The leftovers? Variations on the same theme. There is commentary, no explanation over the images. Just music.
Wrapping up are a group of trailers: "2 Minutes Later" (2:04); "Socket" (2:07); Naked Boys Singing!" (1:01); and "Amnesia: The James Brighton Enigma" (2:49).
PARTING THOUGHTS:
Rightly or wrongly, I compare "2 Minutes Later" to the Chad Allen-starring Donald Strachey mysteries on Here TV. Even his first film, 2005´s "Third Man Out," felt more refined, more concerned with the mystery than this production does. The short running time is more of a detriment than asset, and, while the ending is left wide open for a sequel, a better plotted script needs to be written before it goes into production. Gaston has found a genre-gay detective stories-that are in short supply and tries to fill a niche. Michael Dalmar, Abigail Marks and Donald Strachey can coexist. The first two just need to find some better material.
To its credit, the production looks more expensive than it probably was, with the copious use of exteriors and several scenes involving a good number of background extras. There is little to betray the lack of a true budget in the production values. (However, listening to the commentary track, the shoot sounds like a reunion of friends with the side benefit of making a movie.) And, as I already mentioned, there is no end to the naked flesh on display. Gaston knows his audience well.
VIDEO:
Remember how I said the look of the film was of generally good quality? Either the transfer or the original elements are the issue here and, based on previous TLA Releasing product, I don´t think the problem is in the transfer process. From the outset, the film is covered in a layer of grain, turning the blacks into hues of gray and dancing all over day scenes. Other scenes appear too dark, though this isn´t the fault of the video specs. The details can be muddled at times, a criticism I´ll repeat in a moment. On the positive side, though, other standard video issues don´t plague the film. And with a larger budget, I´d wager the finished product would look better, too.
AUDIO:
A singular option here, English 2.0. As with portions of the video, this track comes across as muddy in some respects, as if a looping session was left out of post production. Background noises and the occasional music cue overpower the dialogue. Upper level sounds at distorted at the top of their range. It´s not a terrible track; the speakers are kept relatively active with activity.
EXTRAS:
The crown jewel here is a commentary with Gaston and editor Farrell Lever. Cast members come and go via phone for the duration (Graham, Stickles, Miller) as well as composer Houston Bernard. Gaston is the only person with any type of insight in the film; sadly, even he gets taken off topic and distracted by the talking with friends again. A lot of time goes into pointing out crew members and friends in each shot, along with various locations.
A short film produced in 2006 shows up next, entitled "Will You…" Running eleven and a half minutes, the trials and tribulations of two lesbians dealing with a marriage proposition manages to be sweet, endearing and obvious at the same time. In the Unrated Photo Featurette (19:17), we´re given every single photograph taken for the sequence of photos on Kyle´s memory card. It turns out to be entirely too long for one reason: we assume the best stuff has made it into the finished film. The leftovers? Variations on the same theme. There is commentary, no explanation over the images. Just music.
Wrapping up are a group of trailers: "2 Minutes Later" (2:04); "Socket" (2:07); Naked Boys Singing!" (1:01); and "Amnesia: The James Brighton Enigma" (2:49).
PARTING THOUGHTS:
Rightly or wrongly, I compare "2 Minutes Later" to the Chad Allen-starring Donald Strachey mysteries on Here TV. Even his first film, 2005´s "Third Man Out," felt more refined, more concerned with the mystery than this production does. The short running time is more of a detriment than asset, and, while the ending is left wide open for a sequel, a better plotted script needs to be written before it goes into production. Gaston has found a genre-gay detective stories-that are in short supply and tries to fill a niche. Michael Dalmar, Abigail Marks and Donald Strachey can coexist. The first two just need to find some better material.
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[release]24157[/release]