Critical Reflection

The short film, Takeout, tells the story of six teenagers planning a heist on a diner, before deciding on a brilliant distraction. The production employs techniques like a bookend flashback, which engages audiences in the seemingly romantic comedy, turned suspense-filled heist production.

Takeout relies on many technical and character-based aspects. One of the aspects that the story touches on is representation. From the first scene, it is clear to the audience that the main protagonist, Ember, is in charge. The story could be categorized as both a romantic comedy or a heist thriller and a strong female protagonist is uncommon for either genre. Ben forms a plan to get back at the diner and Ember stands up to him as she does not agree with it. This idea of control set by Ember is seen very little in any medium but is established very early on here. Ben attempts to oppose her but Ember challenges this, as well as Humphrey's occasional remarks. In doing so, she along with Nicole, ultimately pick apart the flaws of the plan and force Ben to give in. 

The film promotes a sense of power to women and Ember’s behaviors show that a strong woman should have a voice in issues they do not believe in. Ember’s character is built on the fact a woman can challenge certain stereotypes and take charge of situations in pursuing their goals. Moreover, by depicting a female character who is confident and assertive the film attempts to challenge societal expectations and influence the audience. 

The concept of branding for this film is used in a much different way than seen in most productions. Most films revolve their brand around big-name actors, directors, or creative storylines to catch the audience’s attention. This film is very different, as it utilizes genre. Though genre is not a crazy way to promote a movie, Takeout uses it in an unconventional approach. In the postcard and social media, the film is advertised as a romantic comedy, set between Ember and Ben. This idea is still in place when the film begins, and the audience is only aware of the shift as the story progresses.  

The film is able to engage with audiences in the same way that it brands itself. The bookend flashback and the complete shift in tone will hopefully confuse viewers and have them try to comprehend the genre switch. The confusion and quick pace of the film will expectantly engage audiences. The unorthodox techniques will most likely lead to word-of-mouth advertising which leads to the success of the film. Filmmakers often utilize production techniques such as these to great success. 

Viewers of rom-coms and heist films range from teenagers to those in their late thirties. Audiences of this demographic enjoy viewing love stories and films with unexpected outcomes, which is what Takeout aims to accomplish. All three products, the postcard, social media, and film itself, strive to engage with this demographic.

The postcard and social media are the best way to influence this audience. The postcard promotes the film, mostly, as a rom-com. The image, tagline, and fonts are inspired by rom-com advertisements. Including both subjects in the frame is a technique used quite a lot in this genre. The tagline, “We can make this work”, implies that they can fix their relationship when in reality the line is a reference to the plan for the heist and the fact that it can work. The social media also engages with the audience in the same ways. The same tagline and pictures are used on the account, with pictures of the full ensemble included.

Both of these marketing products create an idea in the audience's mind, that is quickly rearranged. Marketing has been found to have a significant effect on viewers and this film is no different. With the marketing for Takeout, the contrast between the promotions and events in the film enhances the experience for viewers who were drawn in by the advertisements. Those who went into the film not seeing anything, may not have the same reaction as those who saw the promotions. The marketing very much engages the audiences as it may provide a completely different viewing experience. 

Additional research into these types of films, similar storylines, and techniques was all done in pre-production. Most stories apply a linear storyline, where each scene progresses chronologically. From the get-go, there was always going to be the use of a bookend flashback. A bookend flashback is described as a scene that appears at the beginning and end of a film. This is different than the two terms on their own, as flashbacks show a scene, while the previous scene continues, and different than bookending, as most times bookends mirror the first and last scene, but they are not chronologically the same scene. There was a lot of research put into this topic and there were many examples where television and film employ this technique. In viewing the successful productions, there were aspects noticed that could be implemented in this film. 

In hopes to catch audiences off guard and make sure that the genre switch had the greatest effect possible, it felt right to use a bookend flashback. In doing so, the audience is shown what is seemingly a couple fighting. There is a huge outburst to where they are left wondering what they just watched. When more characters are introduced at the house, the plan is revealed and towards the end of this scene, it is apparent that the first scene was not chronologically in place. The use of this technique is excellent in providing closure and cohesion.