However, Joseph Bakhash’s Deadline has the look and feel of a full Hollywood studio production with a relatively big-name cast to match.
It also happens to be the darkest short in the Tribeca Film Festival’s “Wake-Up Call” short film program.
Seth has been exonerated, but mentally he is still behind bars, enduring the unending abuse from Hollis, a particularly vicious prison guard.
As he orders a late dinner-early breakfast from a pretty waitress, he repeatedly flashes back to his recent prison ordeal.
Then Hollis walks in, clearly a regular customer at the late-night diner.
It seems Seth is out for some closure, but things are not what they appear.
Deadline follows in the Rod Serling tradition ending with a surprising dark revelation.
Frankly, the twist ending might be best suited to shorter formats if for no other reason because audiences simply do not have as much time to guess the big twist.
Norman Reedus, the indie star of Boondock Saints, is hauntingly intense as the damaged Seth.
Chris Mulkey, recognizable as Madchen Amick’s abusive husband in Twin Peaks and an uncharacteristically sympathetic recurring role on the current season of “24,” is a menacingly effective presence as Hollis.
Deadline has a great look thanks to the striking use of light and darkness by cinematographer Luke Geissbuhler (whose credits include Borat and Helvetica).
Bakhash keeps it tightly focused, steadily building the tension and leading viewers exactly where he intends.
Well-acted and impressively produced, Deadline is a dark, but memorable short film
