Reviews

Seemingly slight indie rom-com takes an Seemingly slight indie rom-com takes an unexpected dark turn in the final third.

Effervescent dance tutor Victoria (writer-producer-director Marianne Hettinger) thought she found her Prince Charming in former Olympic star Max Bauer (an effective Andreas Beckett), ending in a quick matrimony that surprises her loved ones including mom (delightful Lenore Loveman). Max attempts to establish himself as an artist always ends in failure owing mostly to his shiftlessness and scam-like conduct (nifty intro scenes of Max quickly establish him as a possible con artist).

Max the sloth takes full advantage of Victoria and moves in with her. He also pushed her into participating in his 'avant garde' art installations.

The desperation in Victoria is obvious and heart-breaking when she laments to her friends about being 45 and worrying if she's going to have a family of her own in trying to justify her sticking with Max despite his loutish behavior and constant put downs of her. Victoria calm tolerance and easy-going attitude allows Max to exploit her insecurities, culminating in physical assaults..

Effervescent dance tutor Victoria (writer-producer-director Marianne Hettinger) thought she found her Prince Charming in former Olympic star Max Bauer (an effective Andreas Beckett), ending in a quick matrimony that surprises her loved ones including mom (delightful Lenore Loveman). Max attempts to establish himself as an artist always ends in failure owing mostly to his shiftlessness and scam-like conduct (nifty intro scenes of Max quickly establish him as a possible con artist).

Max the sloth takes full advantage of Victoria and moves in with her. He also pushed her into participating in his 'avant garde' art installations.

The desperation in Victoria is obvious and heart-breaking when she laments to her friends about being 45 and worrying if she's going to have a family of her own in trying to justify her sticking with Max despite his loutish behavior and constant put downs of her. Victoria calm tolerance and easy-going attitude allows Max to exploit her insecurities, culminating in physical assaults.

Writer-director Miguel Ángel Vivas brilliant technical skills (with help from feature length debuting cinematographer Pedro J. Márquez) in bringing forth a harrowing tale of home invasion and the torment the family involved undergoes thru out the ordeal.

Inspired by Hitchcock's Rope (1948) & Alfonso Cuarón's Children of Men (2006), the Spanish movie was shot in twelve single and unedited long takes with normal and hand-held cam.

Jaime (Fernando Cayo), his wife Ana (Ana Wagener) and teen daughter Isa (Manuela Vellés) just moved into new home when masked intruders break in the same night. The trio of criminals holds the family hostage with money the primary motive. The simple robbery turns into sick game of torture particularly when one of them drags Jaime to the ATM machine to withdraw cash, leaving his companions to terrorize the women which rapidly go south.

Perhaps more successful as a novelty piece than as a tense thriller. Unintentionally dumb moments also take the kick out of the final twenty minutes.

* Version reviewed is dubbed in English *

A beguiling chapter in life of Jean-Luc Godard, approaching middle age, when he was married to teen starlet Anne Wiazemsky (movie was based on her novel "Un an après") is also (biased) account of Godard's struggle to separate his politics and cinema from personal relationship with friends and his lover.

Godard is portrayed as an uptight and unredeemable cynic, often sulky, sarcasm-driven, biting critic of contemporary cinema and a pretentious revolutionist wannabe. His insensitivitiness and unapologetic views pisses folks off while close friends are disappointed by his actions and zero empathy. However, it's presented in such a tongue-in-cheek way and with a strong sense of irony, aided by a strong Louis Garrel performance that the famed filmmaker comes across as a likeable contrarian with a streak of insecurity particularly when it comes to his wife.

The scene in the packed car on 800km ride back to Paris (the inflated ego of Godard clashing with rest of the occupants including director Michel Cournot) is extremely amusing.

From a fawning young wife infatuated with Godard's intellectualism and passion for the causes he's fighting for to a frustrated lover alienated by his confrontational behavior and misanthropy, Stacy Martin's Anne is enigmatically broody, a stoic silent type with (au) natural aura of sexiness.

The Most Dangerous Game (by author Richard Connell) receives a bloody, semi-parodical update with heavy political slant fueling the main storyline.

Between the gorish binges, the writers (Damon Lindelof and Nick Cuse of 'The Leftovers' and 'Watchmen' fame) sneak in amusing put-downs of 'woke' flimsiness by some on the left and 'deep state conspiracies' by way too many on the right side of the aisle.

The movie belongs to Betty Gilpin. She plays Crystal with a swaggering confidence in her own ability to solve the horrible situation she finds herself in, trapped in a self-fulfilling prophecy. Scene stealer Hilary Swank quite impressive, as always, in physically demanding role despite her slight frame.

Distinctly distaff oriented despite the title.

Batman merely a sideshow as Superman contends with arrival of a literally distant cousin from doomed home planet Kryptonite. Bulk of the plot deals with Kara @ Supergirl adjusting and adapting to life in new environment. Trouble is not far away with arch enemy Darkseid also taking a major interest in the blonde superhero.

Probably the weakest of the DC Universe Animated Original Movies series, the ninth entry lacks vigor and burdened with stilted dialogues.

Set in New Zealand circa 1932 in remote area of the isle where couple of young nurses attends to a wealthy but invalid patient. The caretaker is out on an errand for the day so they have to spend the night in the sprawling house with the sickly David Andrew (Kevin Keys) and the caretaker's elderly wife. It should be a routine work but for nurse-killing psychopath on the prowl. Despite locked doors and windows, the two caregivers come to realize there is someone in the house with them. Turgid effort from start to end.

Ensemble distaff cast shines in a movie with catchy lines and competent direction. The whole is less than the sum of its parts with some hilarious segments and couple of insightful moments .

Features outstanding performances from Sarah Clarke as Maxine the shrink. Her confrontations with the cheating hubby are heart wrenching.

Eye-opening role for Adrianne Palicki (Holly) especially the scene where she talks about her dog. You're either be laughing aloud or mouth agape in amazement.

13 year old Charlotte is played by 38-years old Isabella Gutierrez! People unlikely to notice the difference with the actress youthful countenance.

Movie aptly encapsulates the famous John Lennon's quote "Life is what happens to you while you're busy making other plans." Well paced, charming flick is part sci-fi, part rom-com brings home the bacon thanks to terrific performances and engaging story

Writer-director Jeremy LaLonde most assured work (feature-length) to date.

Daniel Stern is heartbreakingly good as the time traveler trying desperately to fix things before it's too late. The scene with Courtney at the lake shows what the veteran actor can achieve with proper script and believable characterization.

Australian Cleopatra Coleman perfectly cast as woman of James's dream. That voice and those lips....ooh la la.

Aspirational background score (by Ian LeFeuvre & Stephen Krecklo) grows on you.

Don't dwell on the past, don't dream about the future, just where ever you are be all there. - Jimmy

On a night beat, Rookie Nick Holland (Luke Kleintank) learns quickly what it takes to be a LAPD cop in partnering a grizzled, cynical veteran Ray Mandel as they deal with dangerous and crazy characters along the way.

Unremarkable cop drama trod on familiar subject matter (making tough and horrible choices to protect the innocent, caught in blue wall of silence).

Thomas Jane dependable as usual. Josh Hopkins overacts in a clichéd-ridden role.

Struggling Jody Balaban (Leelee Sobieski) aspires to be a filmmaker in cut-throat Hollywood. The sexually repressed girl film ambitions take an unexpected and radical detour into world of adult movies when she answers an ad for editing position. Taking matters into her own hands, she uses the porn company resources to make her own movie under the guise of editing a porn flick.

Josie Davis who wrote and directed "Finding Bliss," which is based loosely on events in her life offers a - often uneven - female perspective on a male-driven industry. A surprisingly watchable indie flick despite the usual romantic trappings and disintegrates in the last half an hour.

P.J. Byrne as the bumbling Gary is a scene stealer alongside Jamie Kennedy playing a spaced-out porn star. Nice cameos by veterans of the smut industry.

An earnest Sarah Grey carries a ludicrous, often unintentionally funny, telly movie. She (and handful of cute Canadian actresses playing high-schoolers) is the only reason to stay until the typical Lifetime ending although Christina Cox deserves a shout-out for the casual nastiness she brings to the titular role (aka Lethal Soccer Mom).

Filmed in picturesque Tahiti (French Polynesia) with melancholic score by Warren Ellis and pretty good Vincent Cassel as Paul Gauguin, 'Gauguin: Voyage to Tahiti' centers on the iconic French post-Impressionist artist eking out an artistic existence in Tahiti and his (controversial) relationship with teenager Tehura (Tuheï Adams).

Slightly revisionist/skewed take on Gauguin's life in Polynesia, most notably aging up Tehura who was reportedly thirteen when she was married off to the middle-aged painter. This core feature of the flick is hampered by lack of depth. Understandable considering writer-director Edouard Deluc must have been wrestling with difficult choices of either sexing it up to the max to suggest Gauguin's attraction to Tehura was purely sexual (the creepy factor would have been off the charts) or slant the script towards muse-artist type of interaction which would have been somewhat more appropriate in explaining Gauguin's interest in the teen but quashes the emotional impact of Gauguin falling in love with the native girl and realizing she doesn't feel the same way towards him. At the end, Deluc went with a restrained approach by counterbalancing both aspects.

Gauguin grinding (and carving) through poverty is acutely depicted.

Shot in mockumentary manner, the story concerns aspiring filmmaker James Parker (James Powell)'s slow descent into a living hell. James's best mate Marcus (Tom Shaw) aims to showcase his friend's progress in the biz from his struggles as runner for a film production company to attempting to become a director himself after discovering unfinished horror from the 1980's "The Streetwalker" which was abandoned midway.

Completing the movie turns into an obsession with James, to show his disapproving parents and friends he has the chops to make it as an avant-garde moviemaker. But unsettling scenes in the original flick, which revolves around serial killer, grows into a major distraction for James. Coupled with behind-the-scenes troubles, it transforms an enthusiastic young man into a bitter person on a path to mental breakdown.

Film's ultra low budget means many of the violent segments are implied. However, the powerful climax is well done and restrained. Ozgur Uyanik's debut feature is certainly worth a look. He extracted down-to-earth performances from cast involved. Lorna Beckett is excellent as Dorothy - obnoxious office worker and James's chief tormentor.

Quartet of teenagers in cross-country vacation across remote Australian outback finds themselves stranded after being run-off the highway by an enormous road train (a road train or roadtrain is a trucking concept used in remote areas of Australia to move freight efficiently. Instead of pulling one trailer or semi-trailer, the road train pulls two or more of them.)

With no help in sight and the truck's insidious presence a terrifying distraction, Liz (Georgina Haig), Marcus (Xavier Samuel), Nina (Sophie Lowe) & Craig (Bob Morley) are frightened, confused and quarrel with one another unaware of death closing in on them. Anemic screenplay and characters grating ambiguousness a major factor in quick sanding the horror.

After mailing a nude picture of himself to wrong address intended for his girlfriend, the main character arrested and sent to a correctional facility. Of course, he is now RSO (Registered Sex Offender) and has to do rehabilitation after being paroled.

Shot in hand-held style, fictional documentary is supposed to show the RSO's systematic recovery and acceptance back into society. Sound serious but director-writer Bob Byington have done the unthinkable by turning it into a funny subject matter. He turns counseling, job interviews and group therapy into humor laced session with awkward pauses, the RSO's cynical enquiries aided by amusing supporting players. Effective performances by the cast.

Gabriel McIver with drone-like voice and shaggy appearance is ideal as the RSO. Co-producer and gorgeous Kristen Tucker is his unlikely girlfriend. Nick Holden (Counselee) probably has the best scene in which he describes having inappropriate relationship rather disarmingly. Indie with very modest budget is a worthwhile watch.

Criminal-behavior psychiatrist must reevaluate her strict convictions that multiple-personality disorder is a myth after she is confronted by one David/Adam (Jonathan Rhys Meyers). Dr. Cara Jessup (Julianne Moore) has to figure out how Adam is able to beat the psych-valuation that determines if he is delusional or actually possess more than one mind in his body. The deeper she dug up the patient's background, the more cracks appear in her initial prognosis. For the skeptic shrink, the revelation becomes dangerous to her and loved ones when the investigation crosses over into realm of unknown.

Falls apart in final third. The filmmakers take up a religious tinted view without any convincing resolution, copping out with a conventional horror climax.

Too slight to be taken seriously, the performances helps in this tale of five couples discovering love through superfluous sex encounter. Most of the characters are bland except for Kristin Booth (Abby) who wants to do "it" to her hubby and Ennis Esmer, a willing voyeur in girlfriend's cuckolding with a room-mate. Adequate time filler.

Somber tale of survival in post-apocalypse Earth. Animals are nearly extinct & floras are dying. For a father (Viggo Mortensen) and his son threading desolate roads, the real fear is lack of food. Suicide is not far from mind for dad that has two bullets in the revolver. But he may need it for the greatest danger to them: fellow mankind.

Heartrending tale of facing hard, cruel choices in face of adversity & father's unbound love for his offspring. A standout Mortensen portrayal. The kid (Aussie Kodi Smit-McPhee) shines in equally difficult role. Top-notch art direction is by Gershon Ginsburg.

More muse than a groupie, Riley Simms (pretty Taryn Manning) charms her way into The Dark Knights - a rock-band smarting from hushed-up tragic incident. The supposed comeback tour is promptly derailed by series of murders.

Made-for-cable-TV thriller from cult director Mark L. Lester is short on gore and creative killings. Laughable emoting scenes takes the cake though. Manning looks bored but Eric Roberts clearly having fun playing Eric Roberts. And these two were the associate producers! Imagine the rest of the cast.

Indie movie produced and starring real-life couple Marianna Palka (also the writer-director) & Jason Ritter is not for all tastes.

Twenty-something video store clerk (Ritter) is mightily attracted to brooding and introvertish Palka. She spends most of the time watching trashy eroticas (rented from the same video shop).

They say opposites attract and sometimes it also rekindles. In this case, it's all but true for two young lonely people searching for someone to lean on and finding ways to care for and heal each other emotional wounds. Sexually frank situations and pair's unfeigned interaction is the film highlights.

Dramedy about how families cope with personal tragedies. Most will move on while some will forever stuck in realm of guilt and anger like the Conway's. They suffered major loss after an accident. Mom (Geena Davis) blames the dad and has turn into an abrasive woman. The youngest child 15-years old Billy (Harrison Gilbertson) struggles to find his own identity at home and in outside world.

The period details are pretty good as the story is set in early 1980's Connecticut, America but made and produced in Australia with local actors doing passable States accent.

Davis - the only Yank in the cast - is the whole show here, armed with wacky and often funny put-downs. She does well considering the thin plot and under cooked characterizations. Marvelous slo-mo visuals by Ben Nott (the opening scene is a showstopper).