A clean-cut drifter arrives in the peaceful town of Brewster and creates a local TV call-in show, asking viewers one question: “What’s wrong with Brewster?” As his show becomes increasingly popular, the stranger’s intentions become less clear and more terrifying. A mix of Frank Capra and Franz Kafka, Public Access takes a chilling look at media overload, complicity and the darkness within.
Hailed as one of the film industry’s most exciting and provocative new talents after the huge success of The Usual Suspects (1995), director Bryan Singer has built his reputation on making films that are essentially lengthy, verbally dexterous flirtations with the darker side of human nature.
Born in 1966, Singer was brought up in southern New Jersey. Raised in a Jewish household, his early childhood was, in part, marked by his formation with a couple of non-Jewish friends of a so-called “Nazi Club.” The existence of the club — which, Singer has said, was formed more out of a fascination with WWII than as a slight to his own heritage — was unsurprisingly put to a quick end by the director’s mother. The incident catalyzed Singer’s own awareness of his Jewish identity, something that would later inform his adaptation of Stephen King’s Apt Pupil and cause one interviewer to label him (presumptuously, perhaps) as “young Hollywood’s great Jewish hope.”
Singer’s upbringing… read more
Perhaps I missed something here, I found Public Access wasn't anywhere near as fantastic as made out to be. It is painfully slow and woefully dull, with an uneventful plot. Although Ron Marquette's character is a fascinating one, with his actual being and facade both up for interpretation. And most of the Public Access' acclaim does derive from Singer's technical excellence behind the camera, which I will grant.