Reviews

This was a terrific movie that really held my attention . . . right up until the very end, which wasn't an end at all, but a cowardly cop out. It's one thing to give viewers a set of facts, and then let them try to come to one conclusion or another based upon the facts. But this film is a total cheat that never gives you quite enough information to come to a logical conclusion. Basically, what they did was take the ending from Butch Cassidy and the Sundance Kid and substituted Claire and David for Newman and Redford. The difference, however, is that we pretty much knew what the outcome of the aforementioned film was, whereas in this film, we are not given nearly enough information to come to a satisfying, logical conclusion. Sorry, but Come and Find Me left me looking for an ending!

I have always enjoyed Casey Affleck, so when I found he was starring in this movie (streaming on Netflix, no less) I figured I'd take a chance. I'm happy to say that I wasn't disappointed . . . at least not terribly. This hackneyed story of a troubled love affair gone bad is fairly predictable, but the superb acting by Affleck, Rooney Mara ("The Girl with the Dragon Tattoo"), and Ben Foster, together with the "show, don't tell" screenplay by writer/director David Lowery, set it apart from lesser versions.

Probably best known for his villainous role in "3:10 to Yuma," Foster does a great job with his role as a forgiving police officer, shot by the wife of character Bob Muldoon (Affleck), during a siege following a robbery. Muldoon takes the rap for his wife, and goes to prison, only to escape four years later, in an attempt be reunited with his wife, Ruth, and the couple's four-year-old daughter, born while he was "inside."

A compelling, hypnotic musical score by Daniel Hart, dark, moody cinematography by Bradford Young, and a strong-but-understated performance by veteran actor Keith Carradine (why doesn't he get more work?) and you almost have a perfect movie - almost. What's missing is the back story. It's there - you just have to search for it, and there's a lot missing. We could have cared so much more about these characters, had it been revealed. Unfortunately, the bond that could have been made between the viewer and the film's characters never quite solidifies - and that' a shame.

Regardless of its shortcomings, "Ain't Them Bodies Saints" is a film worth seeing, even if it's not quite perfect. Streaming worked for me, and it'll probably work for you!

This is a film that has everything going for it - except a credible script. There are numerous aspects of the film that strain credulity, including the premise that a man would actually attempt suicide by attaching a hose to the tailpipe of his car, and then park it across the street from a grocery store (probably the only one in town, no less). The idea that a man with no outdoor survival skills could actually make it, day after day, week after week, and ultimately, year after year in the wilds of the Quebec wilderness is absurd. The concept of Church's character slowly disintegrating due to the guilt he feels because of the "accidental" killing of a newly made acquaintance, and the technique of using flashbacks to explain what is happening is really imaginative, but not new. Most of the acting is just adequate, with the exception of Church, who essentially carries the film on his back, despite a script that leaves a lot to be desired. He is perfectly cast, but the other actors are forgettable and really not very good. The music is a plus, as is the cinematography, which is really quite good. Bottom line: I'd love to see a remake of this film with more attention paid to details, something this version sorely lacked. If you like films involving intense psychological overtones, you might enjoy this one. But be warned: it's hardly perfect.

This was one of the worst films I've ever seen. Joseph Fiennes must have studied old James Dean movies before making this one, because all he ever did was look constipated, while wearing a perpetual frown on his face. Apparently, writer/director Peter Callahan must not be a believer in continuity or research. The "Big Swim" of the Hudson River is supposed to start just below Troy and end up at the Verazzano-Narrows Bridge, but guess what? The scenes move down the river, up the river, down the river, up the river, without the slightest attention to the proposed progression of the swim. At one point, when Fiennes character, Paul, has announced that he expects to finish the following day, the three-person party is approached by a sheriff's boat with two officers in it from Albany, who tell them that they've got 90 more miles to go to reach the bridge. My wife and I laughed aloud at the stupidity. Mary Tyler Moore must be desperate for work to have taken the idiotic role of the judgmental mother of Elizabeth Reaser's character. In one scene, Ms. Moore "pretends" to be driving a car while holding a drink, and never once looks at the road, as she spews venomous remarks about her various neighbors. The only bright spot for us was the performance of Justin Kirk as Jeff, a bartender turned swimming coach. Despite the pathetic script, he still maintained a level of professionalism and delivered his lines with conviction. Okay the music was decent, too. So, there you have it: a ridiculous plot, amateurish script, even more amateurish directing and editing, for a complete waste of time.

My wife and I have been watching "THE Oscars" ever since we were both little children during the Fifties, when the magic of Hollywood was the universal glue that held our respective families together in front of a movie screen and provided a brief escape from the realities of the Cold War and life in general as we knew it. Last year, we were astounded when a little girl from this film was nominated for Best Actress - I neither remember her name nor do I care to (her performance was credible, but certainly not Oscar worthy). But being film buffs, we naturally made a point of adding Beasts of the Southern Wild to our list of "must see" films.

Fast-forward to a couple of nights ago when we finally got around to viewing this hideous film through the magic of Netflix. I have read many of the reviews on this site that call it archetypal, magnificent, remarkable, etc., and to those who wrote them I say, "Bunk!!" Beasts of the Souther Wild (what a title!) was a lousy film and nothing more than a poor attempt to extract sympathy and compassion for those "victims" of Hurricane Katrina who, rather than adhere to the traditional methods of survival (like mandatory evacuation), chose instead to remain behind and party. And before you paint me with a broad brush and call me heartless and lacking in compassion, know first that my wife and I donated $100 that we could ill afford to assist the true victims of the disaster, those who were unable to leave.

This film was also a thinly-disguised propaganda piece, designed to promote an agenda regarding Global Warming and social inequities. It failed on both counts. The individuals portrayed in "Beasts" were just that: beasts. From the invisible "mother" to the drunken "father" and his so-called "friends," they were nothing more than irresponsible, unlikable louts. They were not heroic and there was no redeeming quality to this film. The only "victims" were Hushpuppy, the little girl portrayed in the film, and we who wasted our time watching it. I'm happy to say that I did not waste more than thirty minutes of my time viewing this abomination before bailing on it, which is precisely what I recommend to anyone who is even considering watching a single second.

After all, as the filmmakers would undoubtedly be pleased to know, I am a compassionate person.

This movie had great potential, but failed to achieve it. The beginning, with what appears at first to be a suicide, morphs into something very different gives us the feeling that the film will be something really special. Then, during the course of the interview, we are given some rather interesting insights into the birth of a killer, Viktor, who appears to have some definite justification for his development of a "stone cold" personality. His wife-beating mother was a weak example that led him to hold women in disdain. When we see him commit his first murder at around 12 years of age, it is rather disconcerting, but hypnotic all at the same time. We settle in, expecting more. However, from this point on, it became a litany of violence with no interruption to permit the building of tension. The score is repetitive and does nothing to enhance the film. If anything, it gets in the way. Some very good acting performances are wasted, and in the end the movie ends up being one-dimensional as are the characters. Very disappointing.

This movie had me glued to the chair, right up until the ridiculous "twist" ending. The acting performances by all were excellent, and the plot seemed genuinely plausible most of the time (with the exception of a few Hollywood dumb "extras" thrown in to enhance the storyline). However, when what would have made a perfectly acceptable ending was thrown aside in favor of a Hollywood B.S. ending, with the big "twist," it lost all credibility. Don't waste your time on this piece of garbage. I'm only glad that I didn't pay for the privilege of being toyed with. I saw it on streaming Netflix, so it probably cost me a dime...which is all that it is worth. The only reason I gave it 4 stars was because of the excellent acting.

I watched this movie, streaming, on Netflix. I had searched for independent films, and the synopsis looked interesting. Overall, I was not disappointed, but it was not exactly what I expected. The lead male roles of Paul (C. Thomas Howell, The Amazing Spiderman) and Malcolm (John-Rhys Davies, Raider of the Lost Ark) were played convincingly by both actors, but the acting of Anory Lyn as Paul's wife, Joanne, was wooden and weak. The story tells of two men from very different walks of life, who are kidnapped by human traffickers in Thailand. Paul is a doctor, who, along with his wife, has come to Thailand after the loss of their daughter. Malcolm is a wealthy, retired executive, remarried after a failed first marriage. The music is superb, as is the cinematography and direction. But, this is not your usual kidnapping movie. What it is is a religious vehicle for Christianity, which turns out to be the focal point of the story. Despite the thinly-veiled proselytizing, Escape is still an enjoyable film with a message. But, it's probably more on the level of a made-for- TV movie, than a major box office production. Rainy day? Nothing else to do? Open your mind and your soul and enjoy it.

This is a very good film, a bit short, but nevertheless satisfying. What captured my attention was the edgy performances of the two actors who played Leo and Renny. Their work was comparable in quality to that of Robert Blake's in In Cold Blood. The script and direction by writer/director David Barker was also top notch. As an author of murder mysteries (the Matt Davis Mystery Series), I was particularly impressed with the dialog, and the attention to detail it entailed. The one disappointment for me was the ending, which I thought neglected to tie up the loose ends created by the kidnapping of the husband. But, all in all, this was a quality film that deserved more attention that it apparently received. If you've got an hour and twenty minutes to kill, you could do a lot worse than spending it watching Daylight.

I was fully prepared by all the positive reviews I had read (especially the one by Roger Ebert)to like this movie. But, I didn't! I found it dreadfully disappointing...and actually quite boring most of the time. In fact,rather than eagerly awaiting each scene, I found myself fidgeting in my seat, praying for the credits to arrive. As a writer of mystery novels myself (As The Twig Is Bent, Opening Day)I was amazed at how contrived the plot was, and how two-dimensional the characters were. The casting was less than satisfactory, and often downright puzzling. Why cast Pierce Brosnan, and Irish actor, as an English Prime Minister? His accent was less than effective. The same could be said for Kim Cattrall being cast as an English woman, unless it was for her remote resemblance to Dianna Rigg (a far more convincing actress). The plot was a thinly-disguised attack on George W. Bush and his relationship with PM Tony Blair, and bordered on the ridiculous in its sophomoric critique of the pair's endeavors to keep the world a safer place. Finally, the scene where the PM's wife jumps into bed with Ewan McGregor's character was so utterly superfluous and awkward as to be laughable, and added absolutely nothing to the plot. One positive note: an absolutely chilling performance by Tom Wilkinson, ironically as an American. Lots of good names, lots of adequate acting performance; ridiculous plot. Roman Polanski? Isn't he the director who did Rosemary's Baby and Chinatown? Hmmm...I wonder how they persuaded him to lend his name to this fairy tale?

No denying that the 3D (and, probably the 2D) version(s) of Avatar represent a remarkable achievement in movie-making. I was completely blown away by this film...except...sorry folks, but it needs to be said...for the very thinly veiled assault on our armed forces and, by extension, our country. I, for one, am sick to death of these beneficiaries of our country's capitalist system using the very same vehicle to deliver their anti-American propaganda. This is a wonderful country. Is it perfect? No! Is it the best country God ever put on this planet? You betcha! I'd love to see Mr. Cameron and his ilk take their millions and millions of dollars that they have obtained via the capitalist system, and put it where their sizable mouths are. I certainly know where their heads are! Hey, I have a great idea; how about a movie that tells the story of the exploitation of the South American indigenous peoples by the Spanish, or one about the Turkish massacre of the Armenians? Oh, I forgot; probably not big money-makers...What was I thinking?

I had tremendously high hopes for this movie, especially based upon the trailers and viewer reviews. However, the use of gimmicky "true video footage," along with what were represented as "actual audio recordings" gave it the feel of a "Blair Witch Project" on studio steroids. The use of cheap, theatrical scare tactics, including sudden movements and loud noises, diminished rather than enhanced what little tension the film managed to achieve. But, the worse transgression was the use of an actress (I know I've seen her before, but I can't recall her name) to portray the "real" Abbey Tyler in what were supposed to be actual video recordings. So, what you end up with is an actress (Milla Jojovic) acting as the real Abbey Tyler who is then played by another actress. Sorry, but it just doesn't work. Sadly, there are wasted in this production some excellent acting performances by the aforementioned Miss Jojovic, Will Patton (always excellent),and Elias Koteas (Law & Order). I am a sucker for this type of film, but in this case I feel more like I was duped.