"Matthew Taylor's "Independence Day" is a masterpiece of minimalist cinematography, minimalist writing, casting, acting and lighting. By the time the viewer realizes that "Independence Day" contains little or no plot, he or she is already so involved in the lives of these "characters" that even the absence of anything resembling conflict, development or story arc will only enhance the experience. As one character, "Dan" (aptly portrayed by Dan Pucul), points out, the dance sequence performed by "Richard" (the perfectly cast Richard Ellis), is akin to the works of Jackson Pollock (not appearing in the film) in its relevance to its time and place, and indeed, this reporter does not hesitate to say that this latest work by the young Taylor is just as relevant to our time and generation as the dances of Richard Ellis.

Taylor's use of natural light sources, impromptu-like dialogue, little or no makeup and strict attention to the realism in his costuming may move some audience members to ask: "Could it be that this 'party' really happened and was simply caught on camera?" The answer, says Del Chrol (who plays the loveable "Del"), is simply no. "All those people you see on the screen are professional film and television actors. Some of us are just starting out, of course, but then there are veterans like Steve (Steve Gooch, who plays the affable "Steve") to round out the mix. It's simply Mr. Taylor's very powerful method of directing that makes the film seem so real"(interview, 2005). P. Sidney Horky, who plays the circumlocutious "Phil," concurs: "The big M.P.T.(Taylor) just laid this phat script on my lap, and I was in the works with Spielberg at the time, so I said 'I don't know, M.P.' I told him I'd read it over. Read it in one night, and in the morning, I Called up (Spielberg) and said 'Yo, Stevie, you can take this Orson Welles shit and give it to some know-nothing dipshit off the street. I've got a script in my hands that could run loops around that bullshit any day of the week and twice on Sunday.' And that's how I got involved with (Independence Day)."

On the surface, the film is a gripping, heart-pounding thrill-ride through the seamy underbelly of modern 4th of July parties. Taylor has taken the tools left to him by his filmmaking forefathers and has used those tools in ways that will leave the audience on the edge of their seats, but certainly, this film is not all flashy camera work and incredible pyrotechnics (although we like those things too), Independence Day comes with a message. Woven into the non-narrative, you'll find echoing undertones of xenophobic pride, nationalism, anti-vegetarianism, and the power of art to resolve all these things. Perhaps the message of the film is best embodied by Taylor himself, who we never see, but who another character speaks to, describing Taylor to himself: "here you are, celebrating Independence day, and you're wearing a Union Jack and carrying around a Japanese camera." As he spoke these words, eyes looking into the camera and into all of our eyes, I understood What Taylor had set out to accomplish. This entire film is Taylor pointing out the absurdity of overt nationalism in the context of such an interdependent global community. And this reporter will tell you that Taylor reaches that goal and far beyond."

from The Yorker (like The New Yorker, only older. And less real. Okay, Dan wrote it. But I figured the rest of the world deserved to enjoy it.)