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Hell is Where the Home Is : Burns’ Dismally Heavy-handed Dark Comedy

Playing like the crass, harebrained sister of Gone Girl’s infidelity issued ‘hell hath no fury’ treatment like a you-know-what, Anthony Burns’ sophomore feature, Home Sweet Hell plays like a watered down knock-off on all variable fronts. Broadly drawn, familiar scenarios littered with quirky supporting characters comprise this crude lump of a movie, hewn from the burnt stump of privileged suburban malaise, a dish once perfected now over baked into mutations of vulgar shock effect. Surprisingly, however, the very aspect of the film that works against its own appeal happens to be the sole point of enjoyment. But it’s not enough to make the film worthwhile.

Don Champagne (Patrick Wilson) runs a semi-successful furniture store, employing Les (James Belushi), and recently, one additional employee, Dusty (Jordana Brewster). But Don is definitely not the king of his own castle,...

Decoy

Directed by Jack Bernhard

Written by Nedrick Young (screenplay) and Stanley Rubin (story)

U.S.A., 1946

Film noir is film noir because of a variety of recognized qualities which concern both visuals cues as well as some specific narrative aspects, including stereotypical character traits. It stands to reason that that is how the genre, or any other genre for that matter, is recognized. However, there are some examples of films that, by the very fact that they follow the standards of the genre, somehow manage to create their own special uniqueness. It might be because said movie exemplifies those characteristics particularly well. Other examples prove to be more challenging to evaluate as to what makes them special. The reasons may be more difficult to flesh out simply because one is uncertain as to whether or not the picture is actually good. Watching Jack Berhard’s Decoy in preparation for...