Red Line premiered at the San Diego Film Festival on September 29, 2012, where it won the U-T San Diego Award. When it came to building the set of a bombed out subway car and tunnel, the project was able to maintain a low budget by using students and faculty for all of the construction labor. The film was noteworthy for using a large number of students from the University as production crew about 60-70% of the school's 120 student population were involved in some way.
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While the movie incorporated on-location shooting at Hollywood and Highland subway station, most of the film was shot in a 1,200 square foot soundstage at John Paul the Great Catholic University's initial campus in Scripps Ranch, San Diego, California. Filming įilming of Red Line occurred over 25 days in summer 2011. Nicole Gale Anderson signed on as a lead actress, accompanied by John Billingsley.
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Leveraging the faculty's connections in the film industry, the students and professors then recruited professional crew to head up various departments, including Beverly Holloway for casting, Toby Lamm for the makeup department, David Barnaby for sound design, and Glen Hall for production design. The change was both to reduce costs and to make the piece more relevant to modern audiences. Upon the advice of Chris Riley and director Rob Kirbyson, also a professor at the school, the script was changed during the writing process to become a contemporary piece set in the subway system of Los Angeles. Screenwriting student Tara Stone pitched a World War II period thriller about people who are trapped together in a wine cellar during the London Blitz and begin to suspect that a Nazi spy is among them. The staff knew that they wanted it to be a contained space thriller due to limited budget and resources. In 2010, producers Chris Riley and Dominic Iocco, both professors at the University, challenged the school's film students to generate story concepts that could potentially be filmed in the school's soundstage. Red Line began as a "real-world experience" senior project for film students at John Paul the Great Catholic University. With another bomb ticking down and the perpetrator among them, it's a race against time for survival. Terrified subway passengers fight for their lives after a terrorist bombing leaves them trapped underground in Los Angeles' subway tunnels. The film is noteworthy for its inception as a class project and for using student interns from John Paul the Great Catholic University as a majority of the production crew. Not even the producer's Porsche Carrera would make for a fast enough escape from this junk heap of a story.Red Line is a 2012 film directed by Rob Kirbyson and produced by Yellow Line Studio.
Among other diversions, we get a kidnapping scheme, a war hero (Nathan Phillips) who returns from Iraq to save the day, hot moms, more dead relatives, a psychotic vegetarian (Angus Macfadyen), and the difficulty of finding true love amid all the automatic weapons and slo-mo explosions.Īll this cartoon color ultimately feels washed out, and the film gets flattened under the weight of its own implausibility.
Yet for a movie that worships speed, the retreaded storyline and cliche-clogged characters of "Redline" made it feel as slow as a '72 VW Bus lurching uphill. Her dad died in a fiery car crash a few years earlier, and to avenge his death and win her band a lucrative recording contract, she gets involved with some high-rolling gamblers who bet on illegal drag races.
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The ludicrous plot centers on aspiring rock singer turned race-car driver Natasha Martin (Rhode Island's Nadia Bjorlin, resembling a taller, sharper-witted Carmen Electra). Like "Gone in Sixty Seconds" and other car porn masquerading as cinema, the array of sexy automobiles (all owned by producer Daniel Sadek ) have more personality and better lines, if not curves, than the actors driving them.ĭirector Andy Cheng peppers us with shots of sudsy, souped-up rear ends getting sprayed with water from long hoses. "Redline," an action flick loaded with cars, chrome, and silicone, is everything you'd expect it to be, and yet so much less: less character development, less believability, and most unforgivably, less escapist entertainment.
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