Tim McCann
writer/director

DESOLATION ANGELS

“Winner – Int'l Critics Prize (FIPRESCI) – Toronto Int'l Film Festival”
“Winner – Merchant Ivory/Kodak Award – Telluride Film Festival”
“Critics Choice – Rotterdam Int'l Film Festival”
"One of the best films of the year!" The Village Voice, Chicago Reader, etc.

“No wonder Jonathan Demme and Barbet Schroeder have joined forces in presenting Tim McCann’s knockout debut feature… It is an utterly compelling portrait of depth and complexity… (Desolation Angels) is a thoroughly unsettling and sensitive drama of acute psychological insight.”
Kevin Thomas, THE LOS ANGELES TIMES

“Very unlike anything else in American filmmaking…
A film with an undeniable moral vision.”
Jonathan Rosenbaum, CHICAGO READER

“McCann’s grimly compelling Desolation Angels takes American independent filmmaking back to where it began – in the male angst of movies like John Cassavetes Husbands.”
Dave Kehr, NEW YORK DAILY NEWS

“Male ego is the demon in this blazingly provocative debut film from the gifted Tim McCann…
You won’t stop talking about this one.”
Peter Travers, ROLLING STONE

“An ultra-low budget drama of considerable accomplishment and sometimes extraordinary power…
This is probably as devastating a portrayal and indictment of modern male insensitivity as any film has given us recently… One of the year’s more impressive debuts.”
Michael Wilmington, CHICAGO TRIBUNE

“A wrenching, smart and bleakly funny debut feature by the uncompromising and very talented
Tim McCann… Outstanding.”
Amy Taubin, VILLAGE VOICE

“Harrowing and though provoking…
The movie is so on target about all the macho bullshit that it makes you think Valerie Solanas was right.”
Dennis Dermody, PAPER MAGAZINE

REVOLUTION #9

“Official Selection – Toronto Int'l Film Festival”
“Official Selection – Telluride Film Festival”
“Winner – Grand Jury Award – Nantucket Film Festival”
“Winner – Special Jury Award – Mar Del Plata Film Festival”
“Media Award – American College of Neuropsychopharmacology”

“McCann creates a throbbing, nightmarish atmosphere grounded in images of collapse and disintegration… (Revolution #9) is expressive filmmaking, aided by electric, emotionally attuned performances (including a great turn by Spalding Gray)… 
It is a shock to the system: precise, moving and gripping.”
Patrick McGavin, CHICAGO TRIBUNE

“We need movies like Tim McCann’s Revolution #9, an unadorned, unsparing chronicle of a young man’s descent into a nightmare of delusion… McCann has a keen eye for the more benign delusions that beset modern urbanites… Essential!”
A.O. Scott, THE NEW YORK TIMES

“McCann is deft at mixing obsessive camera work like that of Roman Polanski
with the detached cyber-angst of David Cronenberg.  
The kind of nuance we rarely see on screen.”
John Petkovic, THE CLEVELAND PLAIN DEALER

“Harrowing… Part paranoid thriller, part Cassavetes drama.”
Anthony Kaufman, FILMMAKER MAGAZINE

“Tim McCann’s Revolution #9 is a taut, intelligent psychological drama… 
McCann exposes rather than preaches, and his film is the very model of forceful, low-budget New York independent production.”
Kevin Thomas, LOS ANGELES TIMES

“Some of the best films I’ve seen at Telluride this year? Consider Revolution #9, Tim McCann’s closely observed character drama. It is utterly absorbing.”
Roger Ebert, CHICAGO SUN TIMES

“Revolution #9 looks with fresh eyes at a new millennium… A highly assured, ambitious pic located somewhere between the loopy fantasy of David Cronenberg’s Videodrome and the harsh sterility of One Flew Over the Cuckoo’s Nest… McCann’s instinctive camera-eye burnishes nearly every exchange with a Cassavetes dynamism…  Superlative performances!”
Scott Foundas, VARIETY

“Think of Revolution #9 as the flipside of A Beautiful Mind: a tougher, much more realistic look at the effects of schizophrenia… Realistic, compelling performances. Strong stuff, minus the upbeat sentimentality of last year’s Oscar-winner.   In that respect, it may be an even more important film.”
Marshall Fine, JOURNAL NEWS

“(Revolution #9) is a riveting piece of filmmaking… Risley is chillingly convincing, Adrienne Shelly is strong as his devoted fiancee, and Spalding Gray adds needed humor.”
Jack Mathews, NEW YORK DAILY NEWS

“With unexpected dark humor, an aversion to the obvious, and a superb lead performance by Michael Risley, writer-director Tim McCann illuminates his protagonist’s precarious psychological state… Priceless.”
Dennis Lim, VILLAGE VOICE

“There is a strong directorial stamp on every frame of this stylish film … Revolution #9 is a major step forward. It’s a film that serious audiences should find nearly hypnotizing, from the innocuous opening to the dark, bravely ambiguous ending.”
Gil Jawetz, DVD TALK

“This sharp, passionate feature is chillingly good.”
Jonathan Rosenbaum, CHICAGO READER

NOWHERE MAN

“If Blake Edwards wrote a script and then Abel Ferrara directed it, it might look something like Nowhere Man… It further establishes him as an unpredictable, uncompromising talent working well beneath the industry radar. The guy has balls.”
Scott Foundas, LA WEEKLY

“The term noir gets applied to all manner of candy-assed crap these days (Michael Mann's Collateral? Pfftt!), so a thriller as uncompromisingly dark as Nowhere Man presents a welcome opportunity to reset the benchmark… Indie auteur McCann knows exactly what he's doing, eliciting scalding, tragic performances from his little-known players while maintaining an assured 80/20 balance between straight-faced thriller and pitch-black surrealist farce.
Cliff Doerksen, TIME OUT CHICAGO

“McCann's tone, perversely comic at first, gradually darkens, transforming Nowhere Man into a savage noir exploration of the war between the sexes… Tim McCann has established himself as a maverick filmmaker -- each of his three features displays a taut, edgy sensibility far beyond the pale of Hollywood.”
Joshua Katzmann, Chicago Reader

“A sly study of male ego and insecurity…skillfully precise.”
Dennis Lim, VILLAGE VOICE

“Nowhere Man is the ultimate ‘relationship-gone-bad’ film… A pitch-black dark comedy about the consequences of your actions... An outstanding film – dark, twisted and impressive –
that stays with you long after it ends.”
Mike Watt, FILM THREAT

“Unflinching… writer/director Tim McCann wisely concentrates his energy on story and characterization, pulling off one of the more impressive lo- fi efforts of the year.”
RUE MORGUE

“McCann’s half-serious, half satirical take on tough-guy action films (reminiscent of Robert Aldrich’s Kiss Me Deadly) is shot in a highly effective style… Nowhere Man may be the best edited film in I-don’t-know-how-long… McCann is what you might call a natural, intuitive filmmaker…  What exactly he’s doing at this financially borderline level of filmmaking is a bit mysterious to me.  There’s a hint that (like the great Edgar G. Ulmer) he prefers it there, since it’s at the margins of filmmaking that a writer-director can do skilled, nervy work.  Whatever the reason, with Nowhere Man,
he’s come up with an impressive piece of work.
Henry Sheehan, HENRYSHEEHAN.COM

RUNAWAY

“Official Selection – Toronto Int'l Film Festival”
“Official Selection – Tribeca Film Festival”
“Best Feature Film – Austin Film Festival”

“Tim McCann's Runaway is a harrowing psychodrama, taking place within the disintegrating consciousness of a 21-year-old (a haunting performance by Aaron Stanford) desperately trying to escape a past that has damaged him more gravely than he can comprehend... A spare, taut psychodrama, Runaway induces the anxious feeling that one remembers experiencing in such great, scaggy noirs as Gun Crazy and Detour... There's no denying the skill, economy, and intelligence embodied in this exploration of a fragmented, imploding consciousness.”
Amy Taubin, Film Comment

“Tim McCann twists the psychological thriller genre in this quietly disturbing and haunting story of brotherly love… Suspenseful and heart-wrenching… A first rate cast makes this one unforgettable.”
The Orlando Sentinel

“Every aspect of director Tim McCann’s Runaway is well executed. From the beginning credits, interspersed with askew suburban images, to the eruptive conclusion, it teems with feeling… An exceptional cast…  Tunney is especially invaluable. Her character’s frank sexuality and vulnerable strength are both fresh and fully realized. Stanford also creates an identifiably troubled persona, and nothing about his performance is contrived. Even the bit parts are painfully authentic.”
Abby Weingarten, The Herald Tribune

“A slacker psycho thriller that will keep audiences off balance till the bitter end, Runaway manages to use the questions it raises - via narrative inconsistencies and character quirks –
to pack more powder into it’s explosive payoff.”
John Anderson, VARIETY

“A lean and crisply efficient psychological thriller.”
Dennis Lim, VILLAGE VOICE

THE POKER CLUB

"Talented helmer Tim McCann manages to put the thrills in this thriller... The best thing about The Poker Club is its genuine mysteriousness: what seems like a conventional narrative at first grows increasingly complex... McCann's stylish direction includes glimpses into Aaron's nervous psyche that sometimes predict a gruesome future.”
John Anderson, VARIETY