Pamela

this is already in the Pamela thread, but .. meh! i don't often do reviews, so i figured what the hey.

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JAYMOND'S REVIEW-A-SAURUS RARRRR!
SPOILERS AHEAD, but not many, k?

If we want to generalise, Pamela is an amalgamation of film noir and thrilling old school suspense. Aaron ever-so-slightly inserts the conventions of both these genres fittingly into this well-directed piece of art, and the end result is what we have come to expect from Haynes: a rush-job.
Hahah, get the hell out. I'm joking. Not only borrowing from the genre of Film Noir, specific aspects of Crime Fiction are taken and put to excellent use. Among those I noticed primarily; the Golden Age of Crime Fiction and Hard Boiled. The Golden Age of Crime Fiction dates back to the early 30's. We're talking Sherlock, Cordelia Gray and so forth, and not only are the aspects of this genre peppered throughout Pamela; the fitting subversions of these conventions are too, such as the modern un-enclosed setting of our lone detective, his environment and his suspects. Yet this subversion of genre links beautifully with the emersion of a newer, more edgier genre for Crime Fiction; the aforementioned Hard-Boiled.
And from the raspy Barton-esque (well DUH.) introduction of the film's protagonist and lone detective (convention #1), to the mysterious set puzzle piece of the possibly connected victims of murder (convention #2) to the brief but hilariously obvious denouement scene at the end (convention #3), the realities of the Hard-Boiled protocol are affirmed.
For a project made only in a month, this film goes to show if nothing else the true, raw talent and dedication Aaron can put into a film that not only continously gives him the inspiration to finish, but ends up inspiring others in their work. This is one of the most gratifying outcomes of a 3dmm movie. Though I'm sure not intentional, the purpose of this film can be seen as an example of how devotion to a project that truly interests you as a 3dmmer, a film-maker, a viewer.. can ultimately give you the biggest motivation to complete a masterpiece.
The scenery is staggering, unlike Andres and the upcoming Satanik, Haynes pays particular attention to the specific details of a scene that appear to be the most insignificant, but ultimately give the movie much more depth. A shadowy figure lurking in an alleyway to heighten the tension, the brilliant but immensely short picture of a chalk-outlined crime scene, many more examples of this style are evident throughout the piece; but the sheer awesomeness of Pamela's 'world' will capture you no matter what. It's true, it felt to me as if every scenery environment had a relevant and justifiable connection. As if the foreboding forest was a few miles North of Detective Peterson's dank and depressing office, and so on and so forth.
Now let's talk about the music. More fitting than a pair of size six lycra long-pants, the score picked you up and cradled your un-assuming head in it's arms, before settling you into the perfect mood to appreciate the tone of the film, and how it was to be presented. And this is all in the introductory forest sequence! From the smooth and VERY noir essence of early twentieth century sounds, to the heart-palpatating strangle hold of the most thrilling scenes, to the ludicrous and fitting Richard Cheese, Aaron truly.. has got the music.. in him.
Now, honestly, the in-jokes in this movie are of tremendous.. and fucking BOISTEROUSLY ENTERTAINING quality. I admit, first name: Detective, middle name: Joe, last name: Peterson? Detective Detective Joe Peterson? I didn't like it. The joke felt too farcey, too over-the-top, then I realised as Peterson uttered the lines ".. i hate the name, JOE." who indeed was actually murmuring these words. Jon Barton .. a.k.a. Joe Barton. I grinned, and then chuckled to myself, as if the 3dmm Community Losers had just shared a private joke; this was one of the best examples of Aaron's amazing use of topical humour that works on so many levels. Superficially, yeah.. a guy with a stupid name, but when you realise the context of this joke, and that it's actually Jon speaking it, oh god does it work. Barton himself, plays the role as good as any I can think of. Not only content with being an amazing director, Jon shines in the voice acting department as well. It took me a while to get the origin of his accent down, American? British? Ameri-British? But as the story grew, so did his intonation, and the accent came through much more clearer as the plot moved on. Jon has an essence of Humphrey Bogart ala Detective Philip Marlow; The Big Sleep, about him, and he truly fits the role right down to a tee on the golf course of Perfect Voice Casting. And you know something? My metaphors are just goddamn the best. James Burgon and Pogo do equally solid supporting roles, with CLEAR sounding microphone quality from every single one of these individuals. And this is something I truly admire and respect, because I cannot stress the amount of times a shitty quality mic has ruined my appetite for a 3dmmic Feast, but i commend you three hunks of manhandle for pulling this off extremely well.
What else is there to say about Aaron Haynes' Pamela? Simply this, if you want to know how good a project can be when a well-oiled machine like Aaron is in full swing, view this film. If you want to take a trip back to the traditionally thrilling days of Crime Fiction with modernistic humour and many, many in-jokes of which few are privvy to, view this film. And if you want, truly the greatest piece of 3dmming to ever come out of the history of this community..
view Satanik.

Hahaha, get the hell out. See this. Because I tell ya, it ain't far away what I would deem perfection. A case of escapism at it's best from the backbone of the focused 3dmm film community, Aaron Haynes.

9.5/10
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[Aaron Haynes]

Yes, I am COMPLETELY and SHAMELESSLY slobbing my own knob by adding these.