#Coherence full movie movie#
I will say this you really do need to see the movie Coherence before this interview will make any sense to you. I will say this – once you are done reading the interview, make sure you head over to my Coherence explanation and lend your voice to the discussion. But I don’t think anything prepared him for talking to me here today! hahah. He also spent a great deal of time story boarding most of the Pirates of the Carribean movies. If you don’t know Byrkit, he wrote and directed Rango and Coherence. At which point I hit him up for an interview and he was kind enough to agree to it. And after culling through his spam he saw my email and was kind enough to write back. And yesterday I finally posted my walk through and explanation of the movie – and finally I’ve gotten over half my brain back… and funny thing? I actually slept well last night! hahah.Īnyway, I contacted James Byrkit, the writer and director of Coherence maybe a year ago now? Can’t remember. My brain has been working through the chaos that is the movie and it wasn’t going to stop until I got my thoughts out on paper. So basically what that means is I’ve been walking through my life as a shell of a human. And when I say a monkey on my back you have to literally think fevered dreams and the rest of my waking life devolves to maybe 40% CPU throughput. An Oscilloscope Laboratories release.Full Interview With Coherence Writer Director James Byrkit MPAA Rating: unrated, violence, adult situationsĬast: Emily Baldoni, Maury Sterling, Elizabeth Gracen, Hugo Armstrong, Alex Manugian, Lauren MaherĬredits: Written and directed by James Ward Byrkit. The one thing “Coherence” needs most is that word that gives it its title. Baldoni makes her interesting enough for us to identify with her.īut its 87 minutes feel like more of a writing/plotting exercise than a finished, polished film. As curious as the men at the party might be, Em is the one proactive one, playing her cards close to her vest as she does. And when.īyrkit keeps a lot of the mystery off camera and tells the story, more or less, from Em’s point of view. Characters sit and try to reason out the motives for this or that action for the other versions of themselves.Īnd the viewer tries to keep track of who is doing what to whom, and where. “Coherence” provides the cast with one puzzle and the audience with another. How long before the Yahtzee dice come out to introduce true “randomness” to their reasoning? When does the violence start? And is there more wine? Can they undo something their alternate selves have done? Can they mix and match party guests, alternative versions of each other, with the other house? On a dark, confusing night, with only glow sticks (blue for one house, red for the other) and a passing comet to illuminate the gloomy suburban street, how can they avoid that? “If there’s another version of me, I want to meet him!”īeth (Elizabeth Gracen), wife of Hugh, references “that movie, ‘Sliding Doors,'” as they speculate on how they might tamper with or choose among the alternate realities they seem to be confronting.
Writer-director James Ward Byrkit concocts a Mobius loop of illogical temporal logic as the people in the first house - ballerina Em (Emily Baldoni), home owner Hugh (Hugo Armstrong), actor Mike (Nicholas Brendon) and the others - puzzle over what is happening, the clues each version of themselves leaves the other, and what to do about it. Who do they see? Themselves, or versions of themselves, gathered for this same dinner party, coping with the increasingly odd evening in many of the same ways. That’s the excuse for one character to recite weird bits of comet lore.Īnd that’s when the eight see one house still has light, way up the street. The comet? That’s the sci-fi plot device that makes the power go out and cell phones shatter. Set us up for the usual interpersonal melodramas - this character used to date that one, these two slept together and didn’t tell - and then toss in the comet. Round up eight friends for a dinner party. “Coherence” is an indie thriller of modestly cerebral ambitions, a Theatre of the Absurd piece with “Twilight Zone” touches.
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