Stories Don’t Always Stay on the Page

Read Time:4 Minute, 55 Second

MOVIE REVIEW
Rewriting Mallory
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Genre: Drama, Short
Year Released: 2023
Runtime: 21m
Director(s): Emerson Adams
Writer(s): Malcolm Vanderwoude
Cast: Jonathan Erwin, Tammy Sanow, Timothy J. Cox, Zamani Munashe, Zach Holt, Bryson Schultz, Lucy Borchers
Where to Watch: TBD

RAVING REVIEW: There is something undeniably intriguing about a story that invites its audience to question who’s pulling the strings, not through chaos or spectacle, but by quietly pressing on ideas we don’t always want to confront. That’s the draw here. It's a concept built on introspection, where the pen becomes more powerful than the writer using it expects, and the question of authorship takes on a whole new meaning. As much as it’s about imagination, it’s equally about the weight of grief, and how creativity doesn’t always lead to freedom—it can also backfire when we’re not careful.

The premise follows Joshua, a writer stuck in the haze of personal loss. When his therapist offers a gentle nudge toward putting his thoughts on paper, it seems reasonable, not just a cliché attempt at therapy. But what begins as creative catharsis starts to evolve. The character he invents, Mallory, isn’t simply a fictional representation of pain. Her experiences start to echo a version of reality that Joshua didn’t plan for, forcing him to confront whether his words are crafting more than just a narrative.

The film avoids building a complex mythology around the backstory and focuses on how the world impacts the characters. This decision keeps the core intact, allowing viewers to focus on the implications of control rather than the mechanics of cause and effect. The story maintains a grounded truth by choosing suggestion over explanation, even when it veers into theoretical territory.

Mallory’s path is marred by hardship, as the narrative flirts with a deeper ethical question: What happens when creation becomes manipulated? Unfortunately, this moment can’t be explored deeply enough in the film's short runtime. The conflict is resolved before it can take root, hinting at the possibility of something bolder without fully exploring it. That choice doesn’t derail the film but feels like a missed opportunity.

Jonathan Erwin’s portrayal of Joshua is subdued in the best way. He doesn’t lean into melodrama, choosing instead to internalize his grief, which allows his quieter moments to carry weight. The narration occasionally teeters on sentimentality, but his physical performance tempers it, giving the character a more lived-in feel. Opposite him, Tammy Sanow plays Mallory with a mix of vulnerability and quiet strength. She’s not defined by the events happening to her—she resists them, even if she doesn’t always get the chance to win. I need an expanded version of this story in my life! Sanow had me hooked from start to finish.

The supporting players around them contribute texture without stealing focus. Timothy J. Cox acts as a workplace antagonist, adding a touch of bitter realism without becoming a caricature. Zach Holt’s brief role as a server is another small but effective detail. These parts contribute to the world's authenticity, reinforcing the main storyline's emotional impact by anchoring it in everyday interactions.

Director Emerson Adams and cinematographer Vy Tran collaborate to keep the visual approach simple, but not inactive. The camera often lingers on faces, focusing on expression rather than exhibition. There’s a clear attempt to use closeness as a storytelling device—drawing us in rather than showing us off.

The film’s focus on how people process pain lingers most. The story works because it doesn’t pretend there’s a simple answer. Even when it plays things a bit safe, the heart of the idea remains intact. REWRITING MALLORY isn't interested in wrapping everything up with a bow. Instead, it raises questions about authorship, responsibility, and whether creating something to heal ourselves risks harming others, intentional or not.

There’s also value in what the film chooses not to do. It avoids overdramatizing the writing process or turning grief into performance. It doesn’t lean into heavy-handed messaging or theatrical confrontation.

At just over twenty minutes, there's no slowdown or wasted scenes. It’s a compact story with a tight structure and clear emotional arc. The balance between introspective drama and light genre elements is handled well, especially given the film’s modest scale. By the time the credits roll, there’s a sense that the story has more to say. This film asks its viewers to pause and think, an accomplishment not all films can achieve.

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[photo courtesy of CAPSTONE PICTURES, PANCAKE PICTURES INC]

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