A Simple Machine (2025)

-Written by Kyle Bain. 

Post Covid, a young man tries to find a way in this dim world. Keeping secrets from his soon-to-be fiancé, the aftermath of his sick mother’s struggles, and a sudden change to a minimalistic lifestyle, Nick (Richard Blackmon) finds himself navigating a new existence in this slice-of-life drama, A Simple Machine. 

When are we going to stop talking about COVID? It seems like the answer is never—and I suppose that if social media and Hollywood were a thing back in the 1920s, the Spanish Flu would have received the same level of attention. Film after film uses COVID as a centerpiece, and it’s become tiresome—a sentiment that I’ve certainly expressed in the past. What A Simple Machine does differently, however, is step beyond the parameters of what this virus typically allows, using it only as the initial catalyst that springboards the film forward. After the first twenty minutes or so, A Simple Machine becomes much more than a reminder of quarantine and the millions of deaths—and it becomes a beautifully grounded film about heartbreaking issues, and it consumed me. 

The first thing that caught my eye, and what I believe will be the first thing to catch everyone else’s eye as well, is the fact that Writer-Director Mark Alan Hoffman chose to film entirely in black and white. The somber tone that permeates the entirety of A Simple Machine remains prevalent as a result of the monochromatic aesthetic. Sure, the story itself is a major reason why viewers are able to appreciate all that Hoffman is trying to express, but you first eat with your eyes—and A Simple Machine leans heavily into that sentiment. 

With all that is included in A Simple Machine, Hoffman structures the film well, allowing it to flow. Even the more minor aspects of the production seem to play a role in how viewers receive the abundance of information, filling in potential gaps in the film while allowing it to remain linear and fluid. A Simple Machine, again, contains a series of events that have the potential to be overwhelming—not just to viewers, but to the whole of the production. A balance is achieved, however, and as the film moves forward, every meticulously developed piece of the film remains accessible and appropriately-whelming (if you catch my drift). 

While each aspect of the narrative makes its way into A Simple Machine smoothly, I found that some components of the film did feel a bit far-fetched. By no means do these things crush the film, but dialing back the severity of certain situations could have certainly strengthened the narrative even further. 

Sometimes there is beauty in the mundane, and Hoffman frequently capitalizes on this idea in A Simple Machine. The void of color, the organic nature of many of the situations in which Nick finds himself, and the straightforward storytelling appeal to viewers. I was attracted to A Simple Machine from the opening moments, as it appealed to my senses. From that point forward, the film rarely struggles—as Hoffman masterfully constructs a film for all. 

Directed by Mark Alan Hoffman. 

Written by Mark Alan Hoffman & Evan P. Schneider. 

Starring Richard Blackmon, Gabriela Bloomgarden, Shannon K. Dunn, Brad Carter, etc. 

8.5/10 = WORTH RENTING OR BUYING