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Writer / director / editor Rian Johnson won this year’s Sundance Film Festival Special Jury Prize for originality of vision and boy do they get it right. Johnson Takes hardships ordinary high school life - romance, clicks and clashes, teenage pregnancy and drugs - and applies stylings of Dashiell Hammett in a school film noir that never plays as gimmicky as it might seem. While the references to “The Maltese Falcon” many, Johnson is not just his characters run the forty-spouting dialogue, “Bugsy Malone” style. Instead, he takes beats and exaggerated structure and makes them his own. “Brick” is an ingenious piece of work.

Johnson gives us the right to leave Emily, which ultimately died, taking its opening minutes from the center of his story before flashing back to the event that sets Brendan sleuthing, a note found in a locker, indicating the time and corner. There, the public phone rings and Brendan hears a distraught and panicked Emily. Determined to find her, Brendan advises his friend, The Brain (Matt O’Leary, “Frailty,” “Spy Kids 3-D: Game Over”), and two forms of the plan, which will find Brendan working under a tentative truce with the ” Law Assistant Vice Principal Gary Trueman (Richard “Val” Roundtree). Brad path to the truth will lead him in the exclusive drama club party, where it threatens football jock Brad (Brian White, “The Family Stone”), but welcomed Bred in girlfriend, red hot hostess Laura Dannon (Nora Zehetner, “May”). Looking for Emily current partner Dode (Noah Segan, “Adam and Steve”) introduces its leaders in the hash to the “coffee and cake, Oh My!” But it until Brendan is not in Tournaments with Tugger (Noah Fleiss, “Storytelling “), which he finds in Pin (Lukas Haas,” Witness, “” Mars Attacks! “), high school outsider stewing over who cut his last brick. Believing that “icon in a difficult situation connected with the murder of Emily, Brendan forms an uneasy alliance with the drug dealer.

Johnson covered his bases noir easily. Brendan apparently reluctant good guy, the Bogart of the piece, which will be beaten up, seduced and betrayed, but eventually repaid with the truth. The Brain is a reliable informant, in the locker rooms dealer. There, another ex-girlfriend, Kara (Meagan Good, “Biker Boyz”, “Bounce List”), which fills in for doubtful nightclub chanteuse (she suddenly member of the club, usually in the development of costume). Dode Peter Lorre is a piece of exoticness provided his druggie appearance and way of life in which such Tugger in Pin enforcer Elisha Cook Jr. made a beefy. Since we meet in Pine, bird motifs came into effect on bird of prey attached to his family mailbox (The Pin lives in the house where his mother, Mrs. M., offers cookies and pour the juice from ceramic rooster), his duck-headed cane. In Women fatale of the piece, Laura, is feathers in her hair for Brendan team in the history, and its involvement in it.

This Women fatale, but that is one of the “bricks” to the “two flaws. Zehetner or seductive or sinuous enough to play Mary Astor in contradiction to stand - and only once we all believe Brandon waver in its presence. It is a place of work - Gordon-Levitt ability to be hardboiled and sensitive, tossing out of this complex is an informal dialogue. He just simply and ably supported three other central figures. de Ravin has only one seat in the flesh of Emily, and she gets all the tenderness and bad options, which make it as a sympathetic and memorable. Haas is a cheerful, as Sherlock caped oddball, his best deadpan seriousness to the chaos of his children’s hair. O’Leary is the best in the verbal sparring, his brainstorm with Gordon-Levitt masterfully time duets.

And Johnson’s dialogue is brilliant, with the repeated insider lingo of “Who is she with?” defining significance in the lunchroom seating unaccentuated is with the words of “The Pin is not giving anything drop.” Directed by working with more than words, however. In school fight scene made it funny, strange editing choices. Johnson works throughout the humor of the film and about his obvious or easy milking laughs at the expense of his story. Typically, the weirdness he seeks to “Pin in the back seat of his car, shot from below, with the living room lamp to his right. Sound still good tool. Foot Watch classic chase scenes, unique differentiated footsteps of the two parties, foley artist to make music with a maximum punchline aural. Nathan Johnson’s score is also unusual in its use of instruments recalling “third person” zither. Nevertheless, for all the great camera angles and sound design, film technically bleak.

Nevertheless, Ryan Johnson, made an auspicious debut with “bricks”, his work is only slightly less than stellar undermined technical performance. This is the type of movie that demands repeated viewings to fully appreciate all that can offer.

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