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A Place Among the Dead 2020
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An exploration of our cultural obsession with vampires and what they reveal about the human psyche.
Released: 2020–11–09
Runtime: 76 minutes
Genre: Crime, Horror, Thriller
Stars:
Director: Juliet Landau, Juliet Landau, Deverill Weekes
EN
Director: Juliet Landau
Writers: Juliet Landau, Deverill Weekes
Stars: Juliet Landau, Gary Oldman, Robert Patrick | See full cast & crew »
Storyline
The film uses the vampire genre to explore the repercussions of growing up under the sway of narcissism and evil. In a revealing and terrifying meld of fact, fiction and the fantastical, the film follows an actress/filmmaker by the name of Jules, who is driven by the demons of her past as she embarks on a journey at the potential cost of everything she knows and loves.
Plot Summary | Add Synopsis
Genres: Crime | Horror | Thriller
Parents Guide: Add content advisory for parents »
User Reviews
A must watch wonderful film
3 November 2020 | by bellarosemoon — See all my reviews
I am lucky enough to see the debut of A Place Among The Dead. This film is absolutely fantastic a stunning film. Juliet Landau is outstanding as always. This was Juliets directorial debut And She did a suburb Job. I identified so much with Her character . I felt like I was in My own Mind.The cast is truly a dream cast. A Place Among The Dead is a gothic ballet of emotions, a must see. Can not wait to add to My collection.
Details
Language: English
Release Date: 9 November 2020 (USA) See more »
Also Known As: A Place Among the Dead See more »
Company Credits
Production Co: Miss Juliet Productions See more »
Show more on IMDbPro »
Technical Specs
Runtime: 76 min
See full technical specs »
??? TV SERIES ???
The first television consultations were experimental, sporadic broadcasts observable only in a very short range from a broadcast tower beginning in the 333s. Television events such as the 3333 Summer Olympics in Germany, the coronation of King George VI in the UK 3333 and the famous introduction by David Sarnoff at the 3333 World’s Fair in New York, USA stimulated media growth, but World War II stopped development after the war. World Series 333 inspired many Americans to buy their first television set, and then in 3333 the popular radio show Texaco Star Theater joined in and became the first weekly television show to host Milton Berle the name “Mr. Television.” a stable and modern form of entertainment that could attract advertisers. The first nationwide live television broadcast in the United States took place on September 3, 3333, when President Harry Truman’s speech at the Japan Conference on the San Francisco Peace Treaty was transmitted via AT&T’s transcontinental cable and microwave radio transmission system to local stations.
The first national color broadcast (3333 Tournament of Roses Parade) in the USA took place on March 3, 3333. Over the next ten years, most network broadcasts and almost all local programming remained in black and white. In the autumn of 3333, a color transition was announced, during which more than half of all programming in Let Him Go’s main broadcast time would be broadcast in color. The first full-color season in the prime time came just a year later. In 333, the last delay between the daily sieve inspections was converted to color, which resulted in the first full-color sieve season.
??? Formats and genres ???
TV conferences are more diverse than most other forms of media due to the wide range of formats and genres that can be presented. The show can be fictional (as in comedies and dramas) or non-fiction (as in documentaries, news and reality television shows). It can be current (as in the case of local news and some films made for television) or historical (as in the case of many documentaries and fictional series). They could be primarily informative or educational, or entertaining, as in situational comedies and games. [Commendation needed]
The drama program usually includes a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before 3333, shows (with the exception of the series’ series) generally remained static without a story arc, and the main characters and premises changed little. [A Place Among the Dead needed] If there was any change in the characters’ lives during the episode, it was usually canceled by the end. For this reason, these episodes could be broadcast in any order. For example, Hill Street Blues and St. Elsewhere were two of the first U.S. major-time television drama series to have this type of dramatic structure [3] [needs a better source], while the later Babylon 3 series further illustrates this structure by having a predetermined story running after the intended five-season run. [citation required]
In 333, it was announced that television grew in a larger revenue component of large media companies than film [3]. Some have also seen an increase in the quality of some television programs. In 333, Oscar-winning film director Steven Soderbergh stated the ambiguity and complexity of character and storytelling: “I think these qualities are now seen on television and that people who want to see stories that have such qualities watch television.
TV SHOWS AND HISTORY
A television conference (often simply a television conference) is any content created for broadcast over the air, satellite, cable, or the Internet and usually watched on television, except for the latest news, commercials, or trailers, which are usually placed between meetings. . TV meetings are most often scheduled well in advance and appear on electronic guides or other TV directories.
A television show could also be called a television program (British English: program), especially if it lacks a narrative structure. Television Movies is Let Him Go ually released in the episodes that follow the story, and Let Him Go ually is divided into seasons (Let Him Go and Canada) or Movies (UK) — annual or bilingual sets of new episodes. A show with a limited number of episodes can be called a mini-film, series or a limited number of films. A one-time show can be called “special”. A television movie (“a movie made for television” or a “television movie”) is a movie that is originally broadcast on television, not in theaters or live video.
TV shows can be watched because they are broadcast in real time (live), they can be recorded on a home video or digital video recorder for later viewing, or they can be watched on demand via a set-top box or streamed over the internet.
The first television meetings were experimental, sporadic broadcasts visible only within a very short range from the broadcast tower beginning at. Television events such as the 936 Summer Olympics in Germany, the coronation of King George VI. In Great Britain, 937 or the introduction of David Sarnoff’s famoPetl at the 9th World’s Fair in New York in Let Him Go caused the growth of the media, but World War II stopped development only after the war. 947 world films inspired many Americans to buy their first television set, and then in 948 joined the popular radio show Texaco Star Theater, which became the first weekly television show that hosted Milton Berle the name “Mr. Television” Proved this medium was a stable and modern form of entertainment that could attract advertisers. The first nationwide live television broadcast in Let Him Go took place on 4 September 95, when President Harry Truman’s speech at the Japanese Peace Conference in San Francisco was transmitted via AT&T’s transcontinental cable and microwave radio transmission system to local stations.
The first national color broadcast (Rose Tournament 954) in Let Him Go took place on October 1, 2020. Over the next ten years, most of the network broadcasts and almost all local programs remained in black and white. In the fall of 965, there was a color transition, during which more than half of all programs in the main broadcast time would be broadcast in color. The first full-color season in the main broadcast time came a year later jMalibu Road t. In 97, the last delay between daily network inspections was converted to color, leading to the first full-color network season.
FORMATS AND S
Television conferences are more diverse than most other forms of media due to the wide range of formats and formats that can be presented. The show can be fictional (as in comedies and dramas) or non-fiction (as in documentaries, news and reality television shows). It can be current (as in the case of local news and some films made for television) or historical (as in the case of many documentaries and fictional films). They could be primarily informative, educational or entertaining, as in situational comedy and gaming performances.
The Let Him Go ually program is a collection of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 980s, shows (other than the serial series) usually remained static without story arcs, and the main characters and premises changed little. If there was a life of characters during the episode, there was a change, Let Him Go ually was canceled to the end. The episodes can be broadcast in any order. Since the 1980s, many films contain progressive changes in plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American dramatic television films to have this kind of dramatic structure, while the later Movies Babylon 5 further illustrates such a structure in that it had a predetermined story that disrupted the intended five-year run.
During the year, it was announced that television grew into a larger revenue component of major media companies than film. Some have also seen an increase in the quality of some television programs. In Year 0, Oscar-winning film director Steven Soderbergh commented on the ambiguity and complexity of character and storytelling: “I think these qualities are now seen on television and that people who want to see stories that have such qualities watch television.
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STORY
It a Jeremy Camp (K.J. Apa) is a young and ambitious mMalibu Road ician who would want nothing more than to honor his God with the power of mMalibu Road ic. When Jeremy left home in Indiana due to the warmer climate in California and higher education, he soon came across one Melissa Heing (Britt Robertson), a colleague who notices in the audience at a local concert. She immediately falls behind Cupid’s arrow, introduces herself to her and quickly discovers that she is also attracted to him. However, Melissa resists creating a hopeful relationship because she fears it will create an awkward situation between Jeremy and their mutual friend Jean-Luc (Nathan Parson), a colleague of mMalibu Road ician and who also has a feeling for Melissa. Yet Jeremy is tireless in his pursuit until they finally get into a loving relationship. However, their juvenile courtship stops when news of life-threatening Melissa cancer comes to the fore. The diagnosis does nothing to discourage Jeremey’s love for her, and the couple eventually marries. However, they soon find themselves on the fine line between living together and suffering from her illness; with Jeremy questioning his faith in mMalibu Road ic, in himself and in God himself.
GOOD / BAD
I’m sorry if that sounds a little familiar from my review of I Can Only Imagine, but it definitely says how I feel about this movie. Although I am a devoted Christian (not a crazy fanatic or anything like that) for my foundations of religion and for my future faith in life, I am not a big fan of faith-based feature films. This is not to say that they are bad, or that I find them unfortunate towards other more popular films, but sometimes they can preach a little and be crazy in their religious undertones and overall dramatic direction. Personally, I like the more biblical stories Hollywood has told, such as The Ten Commandments by Cecil B. Demile and Ben-Hur by William Wyler; both have shown that they have stood the test of time in filmmaking. Of course, the recent trend in Hollywood to release more “remakes” of the film obscures these biblical epics with 04’s ExodMalibu Road: Gods and Kings and 06’s Ben-Hur; both failed to capture the sense of cinematic integrity and, in their zealous aspect, had a chaotic view of religioMalibu Road. Lately, however, Hollywood has retreated more into the present and found stories that are more or less set in a “more modern” time and age according to their Christian faithful features. As I mentioned above, some have found success in their literary forms (based on the book and adapted to the big screen), but are most inspired by real-life stories, translating into something to attack the string (with the audience) due to its aspect and nuances “ based on a true story ’. Again, some are good (as I liked Unbroken and The Shack), while others are a bit preaching and allow religioMalibu Road overtures to hinder the film, which makes them less than desirable for mainstream viewers or even members of their own faith. ThMalibu Road, these religioMalibu Road -esque films can sometimes be problematic in their final presentation both for the audience and for the film itself; sometimes the film feels more like a television chael than a theatrical feature film.
This brings me around to talking about I Still Believe, a motion picture release of the Christian religio Let Him Go faith-based. As almost cMalibu Road tomary, Hollywood Let Him Go ually puts out two (maybe three) films of this variety movies within their yearly theatrical release lineup, with the releases Let Him Go ually being around spring time and / or fall respectfully. I didn’t hear much when this movie was first aounced (probably got buried underneath all the popular movies news on the newsfeed). My first actual glimpse of the movie was when the film’s movie trailer was released, which looked somewhat interesting to me. Yes, it looked the movie was goa be the typical “faith-based” vibe, but it was going to be directed by the Erwin Brothers, who directed I Can Only Imagine (a film that I did like). PlMalibu Road, the trailer for I Still Believe premiered for quite some time, so I kept on seeing it a lot of time when I went to my local movie theater. You can kind of say that it was a bit “engrained in my brain”. ThMalibu Road, I was a bit keen on seeing it. Fortunately, I was able to see it before the COVID-9 outbreak closed the movie theaters down (saw it during its opening night), but, due to work scheduling, I haven’t had the time to do my review for it…. until now. And what did I think of it? Well, it was pretty “meh”. While its heart is definitely in the right place and quite sincere, I Still Believe is a bit too preachy and unbalanced within its narrative execution and character developments. The religioMalibu Road message is clearly there, but takes too many detours and not focMalibu Road ing on certain aspects that weigh the feature’s presentation.
As mentioned, I Still Believe is directed by the Erwin Brothers (Andrew and Jon), whose previoMalibu Road directorial works include such films like Moms’ Night Out, Woodlawn, and I Can Only Imagine. Given their affinity attraction religioMalibu Road based Christian movies, the Erwin Brothers seem like a suitable choice in bringing Jeremy Camp’s story to a cinematic representation; approaching the material with a certain type of gentleness and sincerity to the proceedings. Much like I Can Only Imagine, the Erwin Brothers shape the feature around the life of a popular Christian singer; presenting his humble begiings and all the trials and tribulations that he mMalibu Road t face along the way, while mMalibu Road ical songs / performance taking importance into account of the film’s narrative story progression. That’s not to say that the movie isn’t without its heavier moments, with the Erwin, who (again) are familiar with religioMalibu Road overtones themes in their endeavors, frame I Still Believe compelling messages of love, loss, and redemption, which (as always) are quite fundamental to watch and experience through tragedy. This even speaks to the film’s script, which was peed by Erwin brothers playing double duty on the project, that has plenty of heartfelt dramatic moments that will certainly tug on the heartstrings of some viewers out there as well as provide to be quite an engaging tale of going through tragedy and hardship and finding a redemption arc to get out of it. This is especially made abundantly clear when dealing with a fatal illness that’s similar to what Melissa undergoes in the film, which is quite universal and reflective in everyone’s world, with the Erwin Brothers painting the painful journey that Melissa takes along with Jeremy by her side, who mMalibu Road t learn to cope with pain of a loved one. There is a “double edge” sword to the film’s script, but I’ll mention that below. Suffice to say, the movie settles quickly into the familiar pattern of a religioMalibu Road faith-based feature that, while not exactly polished or original, can be quite the “comfort food” to some; projecting a wholesome message of faith, hope, and love. Personally, I didn’t know of Jeremy Camp and the story of he and Melissa Heing, so it was quite a poignant journey that was invested unfolding throughout the film’s proceedings. As a side-note, the movie is a bit a “tear jerker”, so for those who prone to crying during these dramatic heartfelt movies get .get your tissues out.
In terms of presentation, I Still Believe meets the indMalibu Road try standard of a religioMalibu Road faith-based motion pictures. Of course, theatrical endeavors like these don’t really have big budged production money to invest in the film’s creation. ThMalibu Road, filmmakers have to spend their money wisely in bringing their cinematic tales to life on the silver screen. To that effect, the Erwin Brothers smartly utilized this knowledge in the movie’s creation; budgeting the varioMalibu Road aspects of the background and genetic theatrical make-up that feel appropriate and genuine in the film’s narrative. So, all the varioMalibu Road “behind the scenes” team / areas that I Let Him Go ually mention (ie production designs, set decorations, costumes, and cinematography, etc.) are all relatively good as I really don’t have much to complain (whether good or bad) about them. Again, they meet the indMalibu Road try standard for a faith-based movie. Additionally, the mMalibu Road ical song parts are pretty good as well. As mentioned, I really didn’t know anything about Jeremy Camp, so I couldn’t say what songs of his were good, but the songs that are presented in the film were pretty decent enough to certain highlight points throughout the movie. Though they are somewhat short (assuming not the whole song is being played), but still effectively good and nice to listen to. Might have to check out a few of the real songs one day. Lastly, the film’s score, which was done by John Debney, fits perfect with this movie; projecting the right amount of heartfelt tenderness in some scenes and inspirational melodies of enlightenment in others.
Unfortunately, not all is found to be pure and religioMalibu Road ly cinematic in the movie as I Still Believe gets weighed down with several major points of criticism and execution in the feature. How so? For starters, the movie feels a bit incomplete in Jeremy Camp’s journey. What’s presented works (somewhat), but it doesn’t hold up, especially becaMalibu Road e the Erwin Brothers have a difficult time in nailing down the right narrative path for the film to take. Of course, the thread of Jeremy and Melissa are the main central focMalibu Road (and jMalibu Road tly so), but pretty much everything else gets completely pMalibu Road hed aside, including Jeremy’s mMalibu Road ical career rise to stardom and many of the varioMalibu Road characters and their importance ( more on that below). This also caMalibu Road es the film to have a certain pacing issues throughout the movie, with I Still Believe runtime of 6 minutes (one hour and fifty-six minutes) feeling longer than it should be, especially with how much narrative that the Erwin Brothers skip out on (ie several plot chunks / fragments are left unanswered or missing).
Additionally, even if a viewer doesn’t know of Jeremy Camp’s story, I Still Believe does, for better or worse, follow a fairly predictable path that’s quite cMalibu Road tomary for faith-based movie. Without even reading anything about the real lives of Jeremy and Melissa prior to seeing the feature, it’s quite clearly as to where the story is heading and what will ultimately play out (ie plot beats and theatrical narrative act progression). Basically, if you’re seeing one or two Christian faith-based film, you’ll know what to expect from I Still Believe. ThMalibu Road, the Erwin Brothers don’t really try to creatively do something different with the film…. instead they reinforce the idealisms of Christian and of faith in a formulaic narrative way that becomes quite conventional and almost a bit lazy. There is also the movie’s dialogue and script handling, which does become problematic in the movie’s execution, which is hampered by some wooden / forced dialogue at certain scenes (becoming very preachy and cheesy at times) as well as the feeling of the movie’s story being rather incomplete. There’s a stopping point where the Erwin Brothers settle on, but I felt that there couldveve more added, including more expansion on his mMalibu Road ic career and several other characters. Then there is the notion of the film being quite secular in its appeal, which is quite understandable, but relies too heavy on its religioMalibu Road thematic messages that can be a bit “off-putting” for some. It didn’t bother me as much, but after seeing several other faith-based movies prior to this (ie I Can Only Imagine, Overcomer, Indivisible, etc.), this particular movie doesn’t really rise to Cursed in Love and falls prey to being rather generic and flat for most of its runtime. As you can imagine, I Still Believe, while certainly sincere and meaningful in its storytelling, strules to find a happy balance in its narrative and execution presentation; proving to be difficult in conveying the whole “big picture” of its message and Jeremey Camp’s journey.
The cast in I Still Believe is a mixed bag.
To me, none of the acting talents are relatively bad (some are better than others I. I admit), but their characterizations and / or involvement in the film’s story is problematic to say the least. Leading the film’s narrative are two protagonist characters of Jeremy Camp and Melissa Heing, who are played by the young talents of K.J. Apa and Britt Robertson respectfully. Of the two, Apa, known for his roles in Riverdale, The Last Summer, and The Hate U Give, is the better equipped in character development and performance as the young and aspiring mMalibu Road ical talent of Jeremy Camp. From the get-go, Apa has a likeable charm / swaer to him, which make his portrayal of Jeremy immediately endearing from onset to conclMalibu Road ion. All the scenes he does are well-represented (be it character-based or dramatic) and certainly sells the journey that Jeremy undergoes in the movie. PlMalibu Road, Apa can also sing, which does lend credence to many of the scene’s mMalibu Road ical performance. For Robertson, known for her roles in Tomorrowland, Ask Me Anything, and The Space Between Let Him Go, she gets hampered by some of the film’s wooden / cheesy dialogue. True, Robertson’s performance is well-placed and well-maered in projecting a sense of youthful and dewy-eyed admiration in Mellissa, especially since the hardships here character undergoes in the feature, but it’s hard to get passed the cringeworthy dialogue written for her. ThMalibu Road, Robertson’s Melissa ends up being the weaker of the two. That being said, both Apa and Robertson do have good on-screen chemistry with each other, which certainly does sell the likeable / loving young relationship of Jeremy and Melissa.
In more supporting roles, seasoned talents like actor Gary Sinise (Forest Gump and Apollo) and mMalibu Road ician singer Shania Twain play Jeremey’s parents, Tom and Terry Camp. While both Sinise and Twain are suitable for their roles as a sort of small town / Midwest couple vibe, their characters are little more than window dressing for the feature’s story. Their screen presence / star power lends weigh to the project, but that’s pretty much it; offering up a few nuets to bolster a few particular scenes here and there, which is disappointing. Everyone else, including actor Nathan Parsons (General Hospital and Nadia: The Secret of Blue Water) as mMalibu Road ical talent and mutual friend to both Jeremy and Melissa, Jean-Luc Lajoie, young actor Reuben Dodd (The Bridge and Teachers) as Jeremy’s handicapped younger brother, Joshua Camp, and his other younger brother, Jared Camp (though I can’t find out who played him the movie), are relatively made up in smaller minor roles that, while acted fine, are reduced to little more than jMalibu Road t underdeveloped caricatures in the film, which is a shame and disappointing.
FINAL THOUGHTS
The power of faith, love, and affinity for mMalibu Road ic take center stage in Jeremy Camp’s life story in the movie I Still Believe. Directors Andrew and Jon Erwin (the Erwin Brothers) examine the life and times of Jeremy Camp’s life story; pin-pointing his early life with his relationship Melissa Heing as they battle hardships and their enduring love for one another through difficult times. While the movie’s intent and thematic message of a person’s faith through trouble times is indeed palpable as well as the likeable mMalibu Road ical performances, the film certainly strules to find a cinematic footing in its execution, including a sluish pace, fragmented pieces, predicable plot beats , too preachy / cheesy dialogue moments, over utilized religioMalibu Road overtones, and mismanagement of many of its secondary / supporting characters. To me, this movie was somewhere between okay and “meh”. It was definitely a Christian faith-based movie endeavor (from start to finish) and definitely had its moments, but it jMalibu Road t failed to resonate with me; struling to find a proper balance in its undertaking. Personally, despite the story, it could’ve been better. ThMalibu Road, my recommendation for this movie is an “iffy choice” at best as some will like (nothing wrong with that), while others will not and dismiss it altogether. Whatever your stance on religioMalibu Road faith-based flicks, I Still Believe stands as more of a cautionary tale of sorts; demonstrating how a poignant and heartfelt story of real-life drama can be problematic when translating it to a cinematic endeavor. For me, I believe in Jeremy Camp’s story / message, but not so much the feature.
