Director Evan Silver and executive producer Ryan Ennis have teamed to launch Reform School. The bicoastal production studio opens with a diverse roster of directorial talent which includes Silver, Dax Martinez-Vargas, the mono-monikered Julie, and Heath Cullens.
Company founders Silver and Ennis have a track record together, having collaborated over the past decade to turn out varied award-winning jobs. This past year they’ve been turning out one-off projects (Amazon, Fage Greek Yogurt, MTV, Meijer supermarkets) and this month decided to make their connection official with the formation of Reform School. Upcoming work includes a high-profile, Silver-directed TV campaign for the cult wine brand 19 Crimes.
Silver–whose recent production company affiliations include Ruffian and prior to that Gifted Youth (FunnnyorDie)–has directed Super Bowl commercials, TV sketches, music videos, and work advancing pro-social causes. He has collaborated with clients such as Nike, Audi, MTV, FunnyorDie, HBO, Burger King, Mint Mobile, Xbox, ESPN, and The Daily Show. Silver recently won two 2021 Entertainment Clios: a Silver for a VH1 spot starring Martha Stewart, and a Bronze for Hulu starring the cast of Jumanji. Silver–who is also currently repped in Canada by Circle–has seen his work earn Cannes Lions, AICP Show honors, One Show, Webbys, GLAAD, and other industry accolades, including a slot in SHOOT’s New Directors Showcase back in 2007.
EP Ennis has 17 years of freelance experience in commercial and film production during which he’s produced projects for ad agencies such as Droga5, Mother, Deutsch LA, and 72andSunny. Having risen through the ranks of the L.A. film community, he learned every facet of production hands on, and he uses that knowledge to solve any creative challenge and deliver a creative vision as promised. As a proud member of the Choctaw Nation, a Native American tribe originally occupying the Southeastern United States, Ennis is passionate about advancing Native American and Indigenous representation in commercial and film production.
Reform School’s directorial lineup offers a mix of well-known and up-and-coming talent. Martinez-Vargas was earlier repped by m ss ng p eces and SMUGGLER in the U.S. He currently has U.K. representation via Curate Films.
Meanwhile Reform School marks director Julie’s maiden voyage into the U.S. market. She is also repped by Soup Films in Germany.
And Cullens is a film and episodic TV director (It’s Always Sunny in Philadelphia) now breaking into the commercialmaking world via Reform School.
Silver and Ennis envision Reform School as a shop that deploys humor and storytelling in order to make a cultural impact. They also cite the new venture’s fresh, modern, creatively driven approach to production. Ennis observed, “The established production company model over the past ten, or even two years, feels very anachronistic in 2022. We responded by revamping the production process to be more agile, collaborative, diverse, and intimate. This allows us to customize our approach on each project and ensure our clients get everything they want despite any limitations.”
Silver said, “By starting our company from scratch, we were determined to make the production process more creative and fun for our directors, agencies, and clients. Being a boutique, filmmaker-led shop allows us the freedom to take risks on those edgier, yet coveted, creative projects that have a real impact on our culture.”
Ennis added, “We are purposely keeping our roster of directors tight, well-defined, and sought after. The industry isn’t in need of another hugely rostered company that is trying to be everything to everyone at the same time.”
Reform School is represented on the West Coast by Siobhan McCafferty & Associates + Good Rebel, on the East Coast by The Family, and in the Midwest by Dawn Rao & Partners.
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More