In literature and in cinema, overthinking one idea is not all the time the best choice for the author. The natural course of events is torn apart by small elements added only to obtain something 'special and new'. With no doubt, every individual starting a project like this one is seeking to be original and to create something perfect and because of this most of the creations tend to be questionable.

In Michael Salmon’s 'Equal Measure', the main theme is superbly presented in the beginning with equal parts of mystery and charm. James Kendall-Barrett is the man of 1000 questions at a luxurious party held by one of his friends; he acts like a gentleman and has the attitude every woman looks for in a man. Eventually he leaves the party with the woman he desires and they seem to have a connection, but right at the moment when he gives her the phone call, the movie splits in two halves.

The first part was classy and sharp, whether in the second one, we discovered a total different image of James, one that is not 100% different from what he is normally (and 100% was the best choice in our opinion), but rather something crafted to bring 'the new' and 'the original' in the script. From our point of view this mix is right on the edge – as a stylistic compound is rather good, but the phone conversation and the tension created around the main character is dissipated quickly by the activity he is engaged in (something rather insignificant).

In terms of score and cinematography, 'Equal Measure' has all the characteristics of a professional short – as we seen it, it has no blind spots and no inadequate musical moments.

If it was for us, we would have changed a little bit the transition from the first part of the film to the second one, only to make it look neat and not at all 'overthought'. There is a step missing in the overall construction of Salmon’s film, but we are happy that the suggested message is not distorted at all.

Review written by Vlad A.G