"Combining traditional noir with esoteric horror themes, Rolfe Kanefsky's latest thriller is a unique hall of funhouse mirrors that mixes the director's signature humor with a nightmarish landscape that feels new for the prolific director. The first half of One In The Gun is immersed in uniquely shot flashbacks... with tons of witty double entendres that aptly captures the height of noir frenzy. It recalls movies like Double Indemnity but pushes the reminiscent into something fresher with beautiful photography, even sexier dialog and of course, the cryptic twist which is the second half of Gun. Here the movie becomes an isolated, bizarre chiller where nothing is quite as it seems, defying the narrative without alienating the audience. The locales are fantastic... fans of colorfully odd small town atmosphere will enjoy the David Lynch vibe. One In The Gun is chock-full of brilliant and much loved character actors such as (Steven) Bauer, Robert Davi, James Russo and Kanefsky regular Robert Donavan (and keep an eye out for producer Esther Goodstein in a fantastic part). But the standout here is Katherine Randolph as Katrina. Randolph is a strong, beautiful actress who commands every frame she graces... she is perfect in the role. [One In The Gun] is entertaining and unique and will wow fans of neo-noir."

--Amanda Reyes, Horror Yearbook.com

"One In The Gun, a fascinating film noir with bizarre David Lynchian undertones. Written and directed by Rolfe Kanefsky, this intriguing movie boasts a complicated plot, mysterious characters, and disturbing surprises... And every time you think you've got the thing figured out, something happens to make you think again. I love it when that happens in a motion picture, don't you? I admire the way filmmaker Kanefsky also teases us with a couple of amusing scenes that showcase Man's subtle comic flair. As Mickey, Man projects just the right combination of toughness and innocence here. Other standouts in the cast are [Katherine] Randolph, who's about as seductive as film allows, and [Steven] Bauer, who brings gravitas to the role of a rich husband. Colorful supporting characters, protrayed by fine actors like Robert Davi and James Russo, add to the movie's atmosphere and also deserve recognition. It's definitely a must-see for film noir fans."

--Betty Jo Tucker, Reel Talk Reviews

"One in the Gun by writer/director Rolfe Kanefsky, has some of the most captivating camera work I have seen in quite some time. The work is inventive, but never showy. The camera angles don't distract from the story, but rather give you a different way of looking at the action in the movie. And with One in the Gun, it's important to at what's going on from different vantage points. This is a movie where nothing is ever quite as it seems. And once you think you have nailed it down and figured it out- you haven't. The movie plays out like film noir by way of David Lynch. It's a dark and twisted movie, but flashes of humor and lunacy pop up before anything gets too dark... As with any good noir movie, the lies, double crosses and confusion soon mount up. No one is to be trusted and even your eyes can't be believed. One in the Gun is entertaining from the first shot to the last. The cinematography by Gigi Malavsi and the music by Christopher Farrell are top-notch, and Kanefsky deserves to be applauded... Captivating work is done by several actors, highlighted by key performances from Robert Davi and James Russo. One the whole, I may never have been 100 percent sure of what I was watching, but I am certain I had a great time doing it."

--Sean Gerski, itsjustmovies.com

"One in the Gun is the second film of the 2010 Soho International Film Festival that I am reviewing. This feature premiered on the closing night in February and ended the festival with a bang. The film is high paced and full of action, with never ending twists and continuous surprises, a perfect end to a festival. Director Rolfe Kanefsky has tried his hand at many genres, horror being what he is best known for. In this film he tries his hand at One in the Gun. It has the aspects which could classify it as film noir, such as a femme fatale and well, I can't say much else besides that as I would give away part of the film! However, the film has a real David Lynch feel about it, reminding me most of a cross between Mulholland Drive and Lost Highway. It is extremely surrealistic, just like many of Lynch's films, but Kanefsky has his own style and knows how to make it work for him... One in the Gun is an extremely enjoyable, action-packed roller-coaster. It is one of those rare films where there is a not a single moment where there is not something of intrigue and captivation happening, a sign of a great story, script, and direction. True to the surrealist nature of the film, there are times in the film that are plagued with a feeling of confusion, but the confusion is an intended part of the film. It is not there as a result of something being ill-explained, but rather to increase the audience's inquisitiveness of what Micky, played by Steven Man, is really going through... One in the Gun gains momentum continuously throughout the film... It is a great film when a film is one that makes you think you know the ending, but the ending is continuously changing direction so the film is indeed tricking the audience. When you think it is predictable, it changes direction... There is no stone that is left unturned and everything ads up in the end. It feels as through the film is a roller coaster, it goes around in a loop, but shocks its passengers by making jolted, unexpected turns, leaving the passengers anxious as they do not know what to expect. With the roller coaster of One in the Gun, the passengers turn to one another, looking for each others reactions, but they all agree that that was a great and surprising ride. Steven Man does well as Mickey and carries a convincing performance showing the unease of the character. At times, the character can seem like the evil one, yet there is also pity for him. Katherine Randolph is the perfect femme fatale, both physically and in her acting ability. She is sexy and sultry, as well as scheming and can be plain wicked at times. The character of Heather, played by Dana Fares, is definitely noteworthy. She is extremely bizarre and definitely unsettling. Her movements and terrifying laughter and voice are the things nightmares are made of. Just the sight and sound of her makes the audience squirm. Heather is the horror of the film. One in the Gun is a film where nothing is ever as it seems. Even when you think you have it figured out, it is unlikely that you do. It is a film that must be watched until the end and is unlike your everyday run of the mill thriller. 8/10."

--Nicki, Movie Critical - nickismovies.blogspot.com

"Rolfe Kanefsky has long been a favorite of horror fans. But One in the Gun, has latest film, finds him spreading his wings and taking a walk on the neo-noir side.... overall it's a very cool ride... I have to say that Katherine Randolph makes an extremely desirable 21st century femme fatale... Hopefully, Kanefsky will be frightening us again soon but until he does, I'm more than happy to watch him exorcise his crime jones with this hip exercise in crime."

Theron Neel, theronneel.com

"Writer/director Rolfe Kanefsky digs deep into the film noir genre as he channels classic cinematography techniques of the 40s and 50s and brings them into the twenty-first century. While flashbacks are the main storytelling techniques in this film, the dramatic score and camera angles are also used to move the twisting and turning plot along. Even the dialogue, while it might seem out of place in another genre of film, develops the characters in an appropriately noir manner. Steven Man is convincingly geniune in the role of Mickey Lewis. He ranges from witty to serious to vengeful in a way that's reminiscent of Humphrey Bogart and Robert Mitchum. Katherine Randolph also takes a convincing turn as the femme fatale Katrina Webb, the ideal counterpart to Man's protagonist. However, while Man and Randolph certainly do their jobs exceedingly well, it is the film's smaller roles that end up stealing the show. Robert Donavan, Robert Davi, and Esther Goodstein all give solid performances that stay with you long after the film is over, and Dana Fares' chilling portrayal of Heather is enough to give you nightmares. As the film gets darker and darker (and stranger and stranger), Kanefsky manages to slip in enough wit and humor to keep the film from being too over-the-top. Overall, One in the Gun, is ideal for fans of film noir who are prepared to keep up with the non-stop plot twists and surprises that lurk around every corner."

--Joy Scaglione, MovieFilmReview.com

"Rolfe Kanefsky burst onto the movie scene with There's Nothing Out There... A guilty pleasure for sure, he wrote and directed a spoof that made fun of the horror genre years before Wes Craven's made a huge comeback with Scream. He has dabbled in a vast array of genres and has always embraced the B movie conventions he grew up with...and now the mind twisting neo-noir of his latest picture, One in the Gun...From start to finish, this is a sexually-fueled thriller that owes a debt of gratitude to films like Lost Highway and Wild at Heart, yet somehow retains its old-fashioned sensibilities... I need to give it a second viewing to take in all the intricate plot twists that happen along the way. A shout out must be given director of photography Gigi Malavasi, who does a superb job in balancing the lighting between the more noir-esque scenes and the bright neons of the more modern setpieces... for the more adventurous movie buffs that enjoy genre-benders, there is much enjoyment to be had. 3 1/2 stars."

--Jason Bene, Killer Film.com

Interview with Writer/Director Rolfe Kanefsky

On the One in the Gun story:
One in the Gun is a modern neo-noir thriller about a struggling artist, Mickey Lewis (Steven Man) who gets involved with a beautiful femme fatale (Katherine Randolph) and her wealthy "abusive" husband (Steven Bauer). Seduction, robbery, madness and murder are in the offing as Mickey finds himself taking a personal journey into hell with a briefcase full of five million dollars and a body in the trunk of his car.

But nothing is what it seems when Mickey finds himself trapped at a desert motel filled with a collection of crazy, dangerous and mysterious people (including Robert Davi and James Russo). Just when you think you've figured it out, guess again in this sexy brain teaser of a flick!

On the Filmmaking Process:
It was a great challenge and great pleasure in creating a modern film noir thriller with a strong nod to the work of David Lynch, Billy Wilder, and Sam Fuller to name a few. I have always been a great fan of Alfred Hitchcock and his dark suspenseful yet still surprisingly comical vision to his thrillers. Before writing One in the Gun, I spent two weeks revisiting some of the greatest noir films of all time. Movies such as Double Indemnity, Body Heat, Shock Corridor, Dead Reckoning, Out Of The Past, Detour, The Hitchhiker, and Quicksand.

I realized early on that I needed to be very careful since I did not want this to be a parody or spoof of film noir, yet I did want to capture that dark sense of humor many of those films possess. I always wanted to take the audience on a real ride where the plot twists and turns as much as the desert roads that Mickey's finds himself on. Once I was happy with the script, we assembled a great team of actors and crew to make the project a reality and shot for 21 days in and around Los Angeles, Sherman Oaks, and Lancaster.

On Working with the Actors:
Although One in the Gun was very technical in terms of creating the proper mood and atmosphere to tell a classic story in a contemporary setting, I am very aware that it always comes down to the actors if a film works or not. If you don't care about the characters, it doesn't matter how slick and stylish the filmmaking is. So, casting One in the Gun was crucial and we were fortunate to find an extraordinary group of actors. Steven Man probably had the biggest challenge of the cast. He had to create a vulnerable yet tough, innocent yet smart, man on the edge who is still in control and he's in almost every scene of the film! The audience sees the story through his eyes so he had to convey the part of an active observer who the viewer really cares about.

Katherine Randolph plays Katrina Webb, the classic Femme Fatale who has to seduce, betray, and constantly surprise the viewer. She's a woman you love to hate and hate to love but you can't help yourself. Steven Bauer plays Katrina's rich husband, creating the third side of the triangle. With his years of experience, Bauer gives another memorable performance. And having Robert Davi and James Russo along for the ride, keeps the audience entranced with one unusual but unforgettable character after another. In short, we luckily found the right actors who made each character their own.

On Changing genres as a director:
As I said, I've always loved thrillers and film noir but haven't had much of a chance to work in this arena. Having done comedies, horror, family films, and some action, it was a nice change of pace. Every genre comes with its' on rules and patterns. Building a modern mystery in a classical genre structure while still keeping it connected to the audience was a task that was an intriguing as it was rewarding. The structure was designed in the original script. I wanted to create a story that seemed very familiar with characters the audience can immediately relate and respond to in a situation that you believe you know where it's going. However, things quickly change and as Mickey's life spirals out of control, the audience goes with him into a land of surreal David Lynch-style madness where quirky characters, dreams, nightmares, and reality all collide, building to a satisfying but surprising finale. That was the goal and I can't wait to see how the audience responds. One in the Gun is a thinking person's thriller and if they go along for the ride, I believe they will be happily rewarded.

On creating a masterpiece with limited resources:
Well, first off, from my first professional film at the age of 20, I have been using the title, "A Rolfe Kanefsky Flick" and One in the Gun is no different. No matter what the limitations I have always tried to tell the biggest and best story I could. Limited resources just forces the filmmaker to become more creative. If you embrace that statement then due to the budgets and time schedules I have to work with, I believe I'm one of the most "creative" directors working today!

Actually having a 21 day shooting schedule for One in the Gun was a pleasure because I have almost never had more than 18 days and usually only 12 days to make my movies. But we had to work fast, as is always the case when you're trying to pull off 40 or more set-ups a day. My record is 76 different camera set-ups in one day.

However with a dedicated crew, a good set of producers, and a group of talented actors the impossible can become possible.

More interviews:

• The One Reel Interview with Rolfe Kanefsky

L.A. Premiere -- One in the Gun

by Jason Bene - KillerFilm.com

permalink with event photos

Killer Film recently attended the Los Angeles premiere of Rolfe Kanefsky's new film One in the Gun at the infamous Raleigh Studios. Many classic movies were shot at the studio, including King Kong and Casablanca. All the major players in the film showed up and hit the red carpet, as well as a few other famous celebrities. Joining Rolfe from the film were Robert Davi, Stephen Bauer, Steven Man, Katherine Randolph and the gorgeous Russian beauty Kristina Coolish. Arriving to lend their support were Robert Davi's co-star from Showgirls Rena Riffell, as well as Bai Ling from Crank 2.

Everyone really seemed to enjoy the film, but it was the after party where things really start to heat up. Drinks were flowing heavily as everyone seemed to get into the spirit of having a good time. Pictures were taken, more booze was drank, and free sushi was served of a half naked girl. Good times, good times.

Rolfe Kanefsky was kind enough to give this scribe an in-depth look into his neo-noir film, and in the process giving Killer Film fans some insight into the genesis of this ambitious story.

Inspirations:

"I've always been a huge fan of thrillers. I love Alfred Hitchcock movies. I love Double Indemnity and Billy Wilder. What happened was leading man Steven Man wanted to do a film noir thriller vehicle for himself and came to my producer Esther Goodstein and they talked about me. At first I thought they had a screenplay when they realized they had sort of a conceptual idea, they wanted to do a film noir movie. We talked about it and I thought of a premise that would work within the time and budget restraints and everything. I made Steven actually audition as well for his own movie because I wanted to see what his strengths were as an actor since I hadn't worked with him before. At that point they liked the treatment I wrote, I wrote the screenplay, which came together pretty fast. We just rushed into production on it. It was a good experience, it was something very different for me. I love challenges, things I haven't done before. The Hazing and some of my horror-comedies where done because I grew up with guys like Sam Raimi. With this one I wanted to pay homage Billy Wilder, Sam Fuller, Shock Corridor, Robert Ryan, Humphrey Bogart, Dead Reckoning, The Hitchiker, and Detour."

Plot Points:

"My friend C. Courtney Joyner is a huge film noir fan and he gave me about two dozen movies and I watched them all to try and get into the spirit. I really wanted to make sure I did not parody or satire the genre. There's humor like in Billy Wilder, there's a lot of humor in film noir, I didn't want to make fun of the genre. I wasn't doing Dead Men Don't Wear Plaid. That was the inpiration for it and we just jumped into it all. We got a suprisingly good cast because they really loved the script. Robert Davi, Steven Bauer, and James Russo all came on board based on the screenplay. We went into production and it wasn't a long shoot. I also brought in an homage to David Lynch in the second half and it gets into the more contemporary film noir like Blood Simple, Blue Velvet, and Lost Highway. In the first part of the movie there is not much voice-over at all. I was first going to do it but I thought it seemed kind of cheesy and silly. If you have Humphrey Bogart and Robert Mitchum doing it it's great, but if you try and do it contemporary it's comes off like a parody or self reflective. I decided not to do the voice-over until around the first half hour mark where we start telling the story, and we start to see what happens, and then it sort of makes sense. I wanted to give people the flavor of film noir, but I wasn't trying to ape the venetion blind lighting. I wanted to create a mood but I didn't want it to be like this is film noir. Although as the movie goes along it gets more and more film noir-ish. By the time Robert Davi gets into it really feels film noir which is on purpose. But I wanted to bring the audience fully into it, so they feel they are watching a contemporary movie that has this sort of throwback feel to it."

Thrill Me:

"Once we got into Body Double, Body Heat, and Basic Instinct and things like that the sexuality had to be there. It's done very tastefully. I didn't want to over do it. I didn't want to make it a erotic thriller. I wasn't going into the whole Shannon Tweed 80's erotic thriller genre. There is some sex appeal and violence in the movie. It's not overly gratuitous, although it gets more surreal as it goes on. There is some sequence involving lesbians and blood that get into a Nightmare on Elm Street 4 sensibility. It's a dark movie and there is a sense of humor to it. There is comedy throughout the thing, but it's from characters and situations rather than pie in the face kind of slapstick. It's not that kind of comedy. It was a great challenge. By the time we finished shooting I was very, very happy with the way it turned out. I knew we had the film. And then we went into this whole post production where we tried to find the right placement for it. I think this is in a lot of ways very much a festival movie. We didn't get into a lot of festivals because the festivals is a whole other game right now. It's very tricky unless you know people. When we showed it in SoHo the reaction was great. It proved that the film does play. It's a thinking person's movie. You can sit back and enjoy it, but at the same time as I said nothing it as it seems. Just when you think you've figured it out, guess again. It's one of those films that keeps you guessing right until the end. It all makes sense but you do have to go back and re-evaluate what you watched. When people read the script and the few people who have seen the movie have said I want to read it again or I want to watch it again. You remember it."

When and Where:

"We are talking to a few companies that are very interested in repping the film for the Cannes Film Festival, and a few companies who want to release the film. Hopefully we are having some distributors here today. Within a week and a half to two weeks, we'll probably lock down the deal. There's a few offers on the table that would be fine right now so if that works then great. Then the film will get out there and hopefully if somebody big steps up and says let's give this film a small theatrical shot I wouldn't be against that."