Postproduction house Uppercut has added editor Edward Line to its roster. With an expansive and diverse body of work spanning commercials, music videos, comedy, and narrative films, Line joins Uppercut for U.S. representation. He had most recently been with Exile.
Line began his editing career in London, where he developed his craft at Final Cut before moving to Los Angeles in 2016. Since then, Line has cut commercial work for Nissan, Gatorade, Covergirl, Google, Facebook and Mountain Dew. He has collaborated with directors including Traktor, Craig Gillespie, F. Gary Gray, Fredrik Bond, and Los Perez. Line also prides himself on cutting socially committed advertising campaigns for Ancestry, illuminating America’s diverse ancestral history; Sephora, celebrating transgender and non-binary communities; and Color of Change, which highlighted the importance of the 2020 U.S. elections.
Line first made a name for himself as a music video editor with work for Usher, Sia, Nick Cave, DJ Snake & Justin Bieber, and Rudimental. Also an adept narrative editor, his short films have been recognized at international film festivals, including Wale which went on to be shortlisted at the Academy Awards and nominated for a BAFTA.
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