Simon Arthur expanded his 2007 short about two lovers who travel place to place, almost randomly, wrecking peoples lives and inflicting emotional cruelty upon them. While this idea is a good one --- it's been favorably (and accurately) compared to Neil LaBute's "In the Company of Men" --- it doesn't satisfy us the way that film did. It still feels at the end of the runtime as a bit of a nihilistic let-down.
The film almost works better as a quartet of short films all stapled together. Every single one of these vignettes is tight as a drum and very absorbing: they suck you in with the vacuum of a veteran con artist playing short-change tricks on you at a bar.
That the core of the film is held together with icy nimbleness by TV vets Lee Tergesen (Red Widow, The Big C, Army Wives) and Enid Graham (Gray's Anatomy, Boardwalk Empire) is both shocking and exciting. One doesn't expect the broad range and elasticity their performances bubble over with. Tergesen is blessed with a neutral, almost banal affect that reminds you of Bill Pullman's knack for portraying casually moral-less characters and Graham wears an almost eerily poker-faced mask throughout, lustily daring you to read her thoughts, and then laughing disdainfully at you when you make the mistake of attempting it.
If you like suspenseful drama pieces and plays, don't miss this one. It has all of the elements of vintage LaBute or David Mamet. It will make you think and stay with you, even if it doesn't quite gel into the cohesiveness that might otherwise render it a classic.
The film almost works better as a quartet of short films all stapled together. Every single one of these vignettes is tight as a drum and very absorbing: they suck you in with the vacuum of a veteran con artist playing short-change tricks on you at a bar.
That the core of the film is held together with icy nimbleness by TV vets Lee Tergesen (Red Widow, The Big C, Army Wives) and Enid Graham (Gray's Anatomy, Boardwalk Empire) is both shocking and exciting. One doesn't expect the broad range and elasticity their performances bubble over with. Tergesen is blessed with a neutral, almost banal affect that reminds you of Bill Pullman's knack for portraying casually moral-less characters and Graham wears an almost eerily poker-faced mask throughout, lustily daring you to read her thoughts, and then laughing disdainfully at you when you make the mistake of attempting it.
If you like suspenseful drama pieces and plays, don't miss this one. It has all of the elements of vintage LaBute or David Mamet. It will make you think and stay with you, even if it doesn't quite gel into the cohesiveness that might otherwise render it a classic.