Written & Directed By: Corneliu Porumboiu
Cinematography: Tudor Mircea
Editor: Roxana Szel

Cast: Vlad Ivanov, Catrinel Martin, Rodica Lazar, Augustif Villaronga, Sabin Tembrea, Istvan Teglas, Cristobel Pinto, Antonio Buil 

Not everything is as it seems for Cristi, a policeman who plays both sides of the law. Embarking with the beautiful Gilda on a high-stakes heist, both will have to navigate the twists and turns of corruption, treachery, and deception.

A calm and composed film noir that is a slow burn throughout. That involves quite a bit of players even though it starts out more intimate. It grows with each new detail.

It’s a neo-noir that is not as comedic as presented within the trailers. While it has dark humor it is more a thriller. 

The film plays out non-linear at first but is presented and put together with different timelines as we flash forward, back, and then sometimes current time. Told lien this for the audience to get more intrigued and keep the story moving forward in a way that adheres to what the audience is familiar with. 

The film comes alive in the third act with twists and turns that allow for some surprises, but still never quite speeds along or leaves details by the wayside.

The film does offer a femme fatale abs one hell of a seduction scene. Even though other than that scene. It never quite explains why the two characters bond enough to overly look out for one another, especially her considering her position. 

The film offers more of a character study of sorts. Even though with so many characters it offers quirk in the language being studied abs used for this caper. Though seems more there to explore the situation and relationships more than being integral to the plot overall.

Though at first the film might be light shearers but have a tough attitude. It soon shows itself to be violent and dangerous also. Where no one Is truly safe or can be completely trusted.

As everyone has their own agenda here including the so-called good guys. While the film offers style it also seems at times to be overly artistic for such a simple premise.

Though we never quite get any answers for why the lead is so tightly wound or got so involved in the first place. As for its many introductions, the film seems only interested in the lead mostly. Who only really changes more out of circumstances. Not organically or emotionally compelled to.

The film is a great jaw-dropping modern interpretation of femme fatale in the form of actress Catrinel Martin still some questions or connection and plans of characters.

She has a great and strong entrance. Where she is illustrious and iconic, but through the rest of the film, he becomes more of a background character losing the Great strength she was shown as having only to become revitalized by the end. 

Definitely an inspired film. Not the action Oriented kind. Yet it keeps you invested.

Grade: B

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Directed By: Steven Soderbergh 
Written By: Scott Z. Burns
Cinematography: Steven Soderbergh (As Peter Andrews) 
Editor: Steven Soderbergh (As Mary Ann Bernard)

Cast: Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum, Vinessa Shaw, Polly Draper, Ann Dowd, Laila Robins, Mamie Gummer, Elizabeth Rodriguez, Marin Ireland 

A young woman’s world unravels when a drug prescribed by her psychiatrist has unexpected side effects.

Following up his pandemic movie CONTAGION that was a bigger offering with a smaller tale might seem like a step-down but it’s a movie that packs a wallop even though you don’t expect it. Unfortunately by the end, you don’t feel anything. It’s certainly entertaining but it comes off more as a smart artistic popcorn movie. It does its job but at this point movie, fans might be expecting more or stronger From director Soderbergh from his journeyman auteur reputation. This might be what the film suffers from the most 

It’s a movie where things happen but you never quite feel anything it is quite clinical to watch and experience. Even as the twists happen you should care somewhat 

It’s a claustrophobic tale of what happens in all Those high-rise apartments of the haves. As most of the characters come from money and are privileged. Though Channing Tatum heavily billed again he is in the movie very little. 

It feels like it should be bigger even though it focuses more on a singular story 

Each character is smart except for the early victim. So that is refreshing as the film comes more alive when Jude law’s character is more or less fighting for professional and personal survival and all the twists are coming to light, Just as the third act is his plan taking place 

It’s a tale you would expect to be told bigger and more extravagant but with Soderbergh’s style, it focuses more singularly on the plot dynamics allowing room for the character but more or less being to the point and less indulgent. While the film. Still has style and is more technical 

It’s a bigger film from him but still a smaller story though this film feels less experimental than some of his others. This one doesn’t call attention to itself as much and has a stronger script and story than usual.

It allows the mystery of Rooney Mara’s character vacant looks and silence to shape her character and situations. As again when a character uses it to her advantage what people believe about her by her silence and looks. What identity and beliefs they put onto her that might be totally opposite from who she is. They put a character onto her when she is an actual person. She ends up Being the ultimate muse in an unartistic story. One that is mroe made up of successful characters in the medical profession. An unexpected feels Fatale if sorts 

Showing how easy it is for even the most rational of us to fall into a belief of certain fantasies that take the form of supposed responsible thought. Though managed to do it without making it a tale of the weakness of falling into temptation and paying the price for it.

The film seems more like it will be a psychological drama. When actually it will be more of a character-based thriller. This works for this film as it is unexpected and you don’t see it coming. Just as the film involves sex it isn’t very erotic or sexy. 

This is one of the more commercial and straightforward films of Steven Soderbergh. As this one whole cerebral and technical doesn’t feel like an experiment it seems like a smaller project for him that is almost like a short story for him instead of a novel. Which is how full his films can sometimes be. Either with a story or the number of stars usually, cast. 

This is the most likable performance I have found so far of Jude Law’s career. Where he gets to be innocent yet shrewd and the only way out for him is through his Intelligence. Not his looks, wit, or tortured soul. What also helps is that here the performance is mroe natural and effortless. No baggage. As here he plays more of a person, not a character or type. No different look or wardrobe to hide behind. Here he and his performance are stripped down. 

You go into this movie looking for a twist or expecting a thriller and that is what you get but the film plays the more technical side than the emotional. Though it is shockingly mean-spirited and more psychologically ruthless than expected. 

It also shows the passing of time as in the past Catherine Zeta-Jones would be the seducer and audiences would have loved to see her in a same-sex relationship and love scenes. Here as she plays just another victim. It might remind some audience members of the passage of time. Times have certainly changed.

In the end, this is a film that seems simple but then grabs you and takes you through a maze. That is stronger than it appears to be. A throwback to films aimed at adults that wants you to think and figure them out. 

Grade: B- 


Directed By: Barbet Schroeder
Written By: Richard Price
Based on the Original Screenplay “KISS OF DEATH” By: Ben Hecht & Charles Lederer
Based on a story By Eleazar Lipsky
Cinematography: Luciano Tovolli
Editor: Lee Percy

Cast: David Caruso, Nicolas Cage, Samuel L. Jackson, Ving Rhames, Stanley Tucci, Helen Hunt, Michael Rapaport, Kathryn Erbe, Jay O. Sanders, Hope Davis, Anthony Heald, Philip Baker Hall, Paul Calderon, Anne Meara, John Costelloe 

A reformed convict goes undercover with the help of an angry detective to ensnare a psychotic mobster.

When I saw the trailer I knew I had to see this film as soon as possible. I had seen it on the show COMING ATTRACTIONS on the E! Channel when it used to be more devoted to film and film lovers. Not so much gossip. This trailer had me hypnotized so much I taped it and would watch it over and over again. Keep in mind this was before the internet. 

One of my favorite trailers at the time. The cast was seductive so I ended up watching it on opening weekend. 

I know this is a remake but i haven’t seen the original. Which unknown was noteworthy for Richard Widmark’s giggling hitman. There are no signs of that here. Even though Nicolas Cage steals the show as the villain here. Though that might be due to the script trying to make him come off as memorable as Richard Widmark.

This film is supposed to be a thriller though most of the time plays like a dark comedy. One that is central To New York’s character types. Even as it has More thriller elements and framework. 

Everybody seems to speak way too loudly throughout and every sentence or word seems to end and be with an exclamation point. 

This is a modern remake for the 1990’s with what would end up being an all-star cast in the middle of their careers and some just been naming their hot streaks. 

The film seems to borrow part of the cast of PULP FICTION. As the dialogue also tries to be loose and have criminals have odd yet funny conversations emblematic of that  film. It even has a few actors from that movie in it’s cast but it has an overall style of cool. A violent cool with bits of dark comedy thrown in. Where it again always feels like the characters are playing types more than real human beings for the most part.

This movie was supposed to help make a movie star out of David Caruso after being a lifelong character actor and being on a hit Television show. Which pulled him to fame and leaving that show after two seasons to be a movie star. Here is a role he was used to just not being at the center of attention.

Nicolas Cage here is off-kilter as always. Muscle bound and hilarious. As he plays an over the top mobster’s son who Caruso is trying to take down or more like the cops are forcing him to. He is murderous yet childlike at instances 

In the end the most despicable character and true villain of the film is Michael Rappaport who causes all this trouble and is taken down early and quickly.

While the film tries to feel realistic. You are always aware that it is a production. As it even feels thoroughly always like cinema. Never like any kind of reality or relatable. 

For all the violence and tough talk by the end it seems a little too cut and dry. Where it ends up feeling lightweight by the end. No matter how far it has taken us. 



Edited, Cinematography, Written & Directed By: David Lynch

Cast: Laura Dern, Justin Theroux, Grace Zabriskie, Jeremy Irons, Harry Dean Stanton, Diane Ladd, Julia Ormand, Mary Steenburgen, Masiumi Max, Amanda Foreman, Terry Crews, Jordan Ladd, Ian Abercrombie, Cameron Daddo, Jerry Stahl, Nastassja Kinski

A blonde actress is preparing for her biggest role yet, but when she finds herself falling for her co-star, she realizes that her life is beginning to mimic the fictional film that they’re shooting. Adding to her confusion is the revelation that the current film is a remake of a doomed Polish production, 47, which was never finished due to an unspeakable tragedy.

I’m sorry I didn’t know what was going on half the time watching this film. It seems a film that is made more to test your interpretation or at least seems more like an art installation as film. Though truthfully might be the pinnacle and thesis of David Lynch’s filmography. Throwing any linear content out the window practically.

This seems more a film born out of his imagination and a kind of statement for him. As after all Supposedly This movie started with a phone call Laura Dern received from David Lynch asking if she wanted to come and experiment with him. That started the journey as the movie was filmed over several years and both of this films stars admit they don’t understand or what is going on in the film.

This movie makes every David Lynch movie from BLUE VELVET to MULLHOLLAND DRIVE look mainstream. This film is dark at times yet continuously feels unfocused for the audience while David Lynch directs with a sure hand. he does all the work here on his own for the most part it seems behind the scenes. So this is more his total creation. This is like an abstract painting brought to life on film. I think even if you are a David Lynch an this will test your boundaries of love for him.

In this movie there are scenes and shots of such beauty that only last a limited amount of time soon the film becomes tedious because it’s over two hours long. Now yes Andy Warhol would have loved it and called it a masterpiece and so will a lot of pretentious art film fans. Maybe it is. Maybe It’s just an abstract artist wavelength.

Now Mr. Lynch is a talented filmmaker, even in it’s moody overtones. Each scene breathes with life and opportunities that could take to scene and movie into parallel choices but it seems to just soldier on. Just like there are scenes where the film gets very interesting and seems to move only to be cut short abruptly and disappear.

I did really admire  the camerawork and the end credits sequence as well as some scenes and Laura Dern’s performance as she is in the whole film and has to somewhat figure out what is going on as well as be surprised as she goes along throughout. Her performance I can understand. Because she gives it her all and she is challenged at each turn and gives all she can at each turn. Bringing some kind of understanding and emotion into all of this darkness.

The reasons you think but for the fluid camera movement and music selection. This is a should have been movie especially with the ending. I believe we look for meaning or at least a linear story in David Lynch films and when he doesn’t give it to us. We try to read too much into it and maybe give little things that are non sensical more meaning that it has. It could be just a glitch but these directors who don’t speak on their films really are hiding the secret because audiences praise them as geniuses and all it is is a mistake plain and simple or something that was forgotten looked on or couldn’t afford to fix. But the audience feels the director is being subtle or that audiences just don’t get it. Maybe we do more than you but you believing yourself to be superior and needing to have something to believe in or influenced by your artistic friends taste or maybe I’m an idiot who knows this isn’t a philosophy class. I just wanted to state my beliefs.

This is one of those films I believe film lovers and fans of lynch need to see. Though I can say definitely watch it after you have seen all of his other films and can’t say you will enjoy it. Though there is nothing like it and it’s a movie I will say I will most likely only watch once. From what I can understand is that Laura Dern is playing in a movie that is a remake of cursed early black and white film. From the line between reality and film and film within a film are blurred. Sorry I didn’t like it but I do like other Lynch movies just not this one.


GAME OVER, MAN! (2018)

Directed By: Kyle Newacheck 
Written By: Anders Holm 
Story By: Anders Holm, Adam Devine & Blake Anderson 
Cinematography By: Steve Jablonsky 
Editor: Evan Henke 

Cast: Adam Devine, Anders Holm, Blake Anderson, Rhona Mitra, Neal McDonough, Sam Richardson, Steve Howey, Utkarsh Ambudkar, Daniel Stern, Aya Cash, Andrew Bachelor, Sugar Lyn Beard, Chloe Bridges, Mac Brandt, Jon Garbus 

Three friends are on the verge of getting their video game financed when their benefactor is taken hostage by terrorists.

This film is brought to you by the guys behind the television show WORKAHOLICS. This movie is like an unadulterated, uncensored episode of the show. Which I can admit I was a viewer of which is why this film comes across as a guilty pleasure for the most part.

This film seems like it could have been a contender at the box office, but is better served on Netflix. Where it will appeal to their audience and allow them to gain a bigger one.

The leads are playing variations of their comedic personas only more extreme. As they as a group seek to be successful with several million dollar ideas. So that they can claim some significance in their embarrassing roles in life at their job.

One so the bombastic blowhard who has made himself the leader, the other is an idea man who is a stoner and the third is more the nerdy shy buttoned up type. Who find themselves basically in a die hard situation. As the film works as a parody of that film also.

What works with this film is what works with the best comedies. The film isn’t just them Doing Funny and crazy stuff while everyone around them plays it straight and reacts to them. The film allows most of the other characters to be as wacky and crazy. Even allows by the film to focus for whole scenes and time periods on other characters.

The fun in is watching some of the villainous archetypes play out a little more different some more human or at least realistic to life.

As mentioned before this film is uncensored in all aspects. So there is plenty of graphic violence, gore to a degree and also male full frontal nudity.

The film plays contained as it takes place mostly in the hotel they work at. There are no surprises when it comes to the villains. Except how they are played at times.

In one way you could easily find the film insulting as it is more shocking frat type of juvenile behavior. Seen more through the lens of young white males. Even as this is not the type of film to really look for equality and political correctness in. The film tries to be fair to everyone, especially the females and not have them just be window dressing or damsels in distress. Though they don’t get as much action and attention. Though I will say Jillian Bell in her cameo in the film steals the scene and is provides the funniest laugh in the film.

As the film has plenty of pop culture references but also quite a few celebrity cameos. Which are hilarious and truly show that no one is safe in this film. Even the title is a quote from a popular line from the movie ALIENS. Said by the late great actor Bill Paxton

The film has no depth but stays entertaining. If you are a fan of their show or them as comedic actors and performers. You will definitely enjoy the film. As at least as you know the scenario the film offers surprises and doesn’t come across or lazy or phoning it in as more and more studio comedies and comedic actors are coming off as more and more at times. Like they are doing their schtick but they don’t even see inspired or into it anymore. So at least this film comes across as guys who are creative coming up with laughs and doing it for themselves as well as wanting to serve the audience.

This feels like a comedy from a new age. Definitely not watered down

Grade: C+


Directed By: LP
Written By: Ellen Rapoport 
Cinematography: Tim Orr
Editor: Christian Hoffman 

Cast: Nasim Pedrad, Anna Camp, Sarah Burns, Lamorne Morris, Robbie Amell, Heather Graham, Jessica Chaffin, Jessica Lowe

A panicked young woman, with her reluctant friends in tow, rushes to Mexico to try and delete a ranting email she sent to her new boyfriend.

It’s Nice to see Nasim Pedrad in the lead. Even if from the beginning we notice her character is disturbed and throughout the movie seems to get worse and more desperate. That it is hard at times to have any sympathy for her. 

But just as she really barely had time to make her mark on Saturday night love this film doesn’t seem to be the best material for her it gives her more to do but nothing really to do to make a mark. She is attractive and entertaining. Though just as the film

Focuses on later. It’s hard to age. Any sympathy for her and you wonder why her friends do either.

As they have real problems but while having humorous scenes. They barely have anything to do but sit back and watch her and at times get pulled into the ridiculousness.

At times the film gets a little raunchy but it more stays ridiculous than gross

As the script isn’t really that great it seems like a script talking down to the audience as even the premise seems strange for a feature that just like the main character reeks of desperation. 

Maybe as it comes off more like a stereotype a more male one about how they truly believe women view relationships basically needy 

That seems like a female version of the movie OVERNIGHT DELIVERY. Whereas this film has more the feel of early Netflix premiere movies. This film Works but strangely feels haphazardly put together. 

Which makes sense as this was originally meant to be made in 2009 with Isla Fisher starring. As the material does feel dated. 

Even if it is refreshing To see a female character be quite messy as the lead and having the male love interest more, have it altogether more and love her for being herself and be there to try and keep everything on the straight and narrow. Even if he has a minor problem But is willing. To get over it for her

In the end, the film shows that there is somebody for everybody. Even those who you might not expect. Unfortunately, I doubt that the same can be said when it comes to this movie and an audience.

Grade: D+ 


Directed By: Patrick Mille
Written By: Patrick Mille, Julien Lambroschini & Sabrina Amara
Cinematography: Andre Szenkowski
Editor: Samuel Dansei

Cast: Vanessa Guide, Alison Wheeler, Margot Bancilhon, Philippine Stindel, Patrick Mille, Christine Citti, Susana Pires, Chico Diaz, Joseph Makebra 

Four childhood friends reunite for a wedding in Rio, only to find themselves on the run through the Brazilian countryside after accidentally killing someone at a drug-fueled party.

The film feels very 1980s inspired. As the plot feels high concept and simple. As it takes a GIRL’S NIGHT type story and takes it further and more action-oriented.

It even feels directed like an interaction action film from the 1980s. So that you always feel a bit of nostalgia. If you are a fan of films from the decade. 

The film offers a kind of girl’s gone wild scenario. As the characters deal with being on vacation in Brazil for a friend’s wedding and their lives not going too well. So they decide to show e fun no wild out. Which eventually leads to trouble. The film presents deals with them trying to stay out of trouble as more complications are presented.

Even though the film sounds like it would more be  T & A fest. It is more for female viewers. As most of the male characters are stupid, evil and manipulative.

The film sets up an older male villain. Whose motives are understandable partially. As he is only reacting to the death of a loved one. One who ended up being reprehensible. Showing that the Apple doesn’t fall far from The tree.

The film plays so broad but then reins in some scenes that want to be more dramatic or character building. 

The film certainly switches tones as it begins like a screwball comedy and then becomes more hardcore at first serious then action but tries to keep a sense of humor through it all. Leaving the film to be inventive and thankfully fast-paced.

In trying to stay out of trouble they are lead into all sorts of criminal activity and hijinks that eventually allows them to have a full-fledged adventure. That stays on the move and exposes a silly and unexpected side. 

Even if the last-minute hardcore action seems a bit much. 

The four leads all play types more than characters but all are needed for their particular skills that help along the way and they all have their own appeal. 

The more darker-skinned characters are shown more as villains, tough and dangerous. It doesn’t seem intended that way but still comes off that way and noticeable. 

The film offers an interesting tale of a girl’s vacation in its own way.

The film unfortunately might be entertaining as you watch it but by the end feels forgettable. 



Directed By: Chris Addison 
Written By: Stanley Shapiro, Paul Henning, Dale Launer & Jac Schaeffer 
Cinematography: Michael Coulter 
Editor: Anthony Boys 

Cast: Anne Hathaway, Rebel Wilson, Alex Sharp, Tim Blake Nelson, Timothy Simons 

In this remake of 1988’s “Dirty Rotten Scoundrels,” 2 con-women hustle in a small French Riviera town – one for small amounts from average men, and one for higher amounts wealthier men. They bet on what looks like an easy target. The winner gets $500K from him, and the loser leaves town forever.

This is an example of when a film Shows the best jokes of the film in the trailer. Which weren’t very funny, to begin with, but at least leaves the audience intrigued. 

This film is a female remake of the comedy DIRTY ROTTEN SCOUNDRELS. With Anne Hathaway playing mroe the aristocratic Worldly con woman and Rebel Wilson playing more the sloppy con woman who could stand to learn from Hathaway’s character.

There comes a point in watching the film. Where you can understand the studio loving this idea and getting two stars to be In it but then the script comes along and no one noticed any problems? Or felt it wasn’t with it in the end. Nobody while filming thought this could be better? 

As the film comes across as one extended sitcom as far as set-up’s and its broad mroe physical humor. Leading to many awkward moments in what are supposed to be wide comedic sequences. 

Anne Hathaway is having the time of her life with various over-the-top foreign ridiculousness accents and she looks breathtaking throughout. As always the height of fashion and coming across elegant as a fashion magazine ad. Though there is one scene where she uses a voice that I wish the film or her character had been mroe like that. When she says she likes a bracelet because of how shiny it is 

Rebel Wilson goes over the top. As her character seems constantly sex-starved and crass, but while she can be funny. Many times here she is either the butt of the home or just goes overboard or is used that way. 

They both could have benefited from a better script. Even if half the audience remembers the original film And the twists and turns the film feels lazy in how it gets there.

Even with the update of making their big mark, a Mark Zukerberg Esque tech millionaire who has social anxiety feels a bit too spot-on and modern. 

Though the two female co-Stars do have good chemistry. It also feels like they are trying to squeeze humor from an unfunny movie. Nothing in this film ever feels believable. 

For as cynical as the film tries to be it goes too easily for more a light touch. So that it never rises or comes close to the laughs or being as memorable as the original film. This just feels like an Unneeded modernized update that came perhaps too soon. Coincidently after a successful musical broadway run of the original.

One will say that the film looks beautiful as all the surroundings are picturesque. The film does contain one brief touching moment.

Grade: D 


Directed By: Julius Onah 
Written By: Oren Uziel 
Story By: Oren Uziel & Doug Jung 
Cinematography By: Dan Mindel 
Editor: Alan Baumgarten, Matt Evans & Rebevva Valente 

Cast: Gugu Mbatha-Raw, Chris O’Dowd, Daniel Bruhl, David Oyelowo, John Ortiz, Ziyi Zhang, Donal Logue, Roger Davies, Elizabeth Debicki 

Orbiting a planet on the brink of war, scientists test a device to solve an energy crisis, and end up face-to-face with a dark alternate reality.

There are parts of this film remind one of the science fiction movie LIFE that came out the year before. Only that movie was somewhat original and similarly Cliche ridden but at least was more entertaining overall with impressive special effects. It also didn’t try to be as emotional and dramatic as this film. It also had one hell of an ending.

This film also has way too good a cast to be this bad and disappointing. They are diverse and international. Not necessarily due to them is his movie a failure. Just a story that believes itself more clever then it actually is. As the film even before it’s Release tried to seem like it was more a studio sci-fi film before it was figured out to be another film in connection with the CLOVERFIELD series of movies. So once figured out it added CLOVERFIELD to the title. In the end it plays more like all hype.

The film essentially plays too basic and familiar so you get the sense you have seen all of this before.

The film being tied to a bigger series of films. That this is more a prequel of sorts that could be a sequel to anything. That is how devoid of personality and material it is. Where most of the film feels like filler for a few certain scenes that tie it together and really are what the movie is about.

Though more built around actress Gugu Mbetha-Raw character. No one in the cast comes through as memorable. Except Chris O’Dowd and that is only because he is more the comedic relief and is involved in one of the more impressive special effects sequences. The later being the bigger reason I remember him.

It’s a shame that a sci-fi movie that has a bigger than usual cast of minorities is so basic and non descript. Even the direction and production design doesn’t seem inspired.

The film ends up feeling like a hodgepodge or ideas and plots of other movies. Even by the ending it feels like this was a general sci-fi movie. That had an added ending to tie it to the CLOVERFIELD universe. As at least the other films in that universe added a different and original point of view to the typical alien invasion film. This feels more expected. Even if at first it tries to stay focused on the science more than anything.

Do these film not exist in that universe. It even trying to do anything different or special. The film isn’t even scary it’s more dialogue then anything at first. It’s also a movie that tries to be emotionally manipulative late in the game after an initial set-up and doesn’t come off as stylish at all.

This seems like a film that will play on the syfy channel for a while. As it seems like a bigger budgeted version of a film they would produce only without an exploitive angle.

This is definitely the weakest of the three films


TEETH (2007)

Written & Directed By: Mitchell Lichtenstein 
Cinematography By: Wolfgang Held 
Editor: Joe Landauer 

Cast: Jess Weixler, John Hensley, Josh Pais, Lenny Von Dohlen, Ashley Springer, Hale Appleman  

Dawn grows up in the shadow of a nuclear power plant. In high school, while her biology class studies evolution, she realizes she may have a hidden curse, an “adaptation.” She lives with her mom, step-father, and hard-edged step-brother. She likes Tobey, a guy at school, and he likes her. She takes a pledge to remain chaste until marriage, so they date in groups, watch G-rated films, and don’t kiss, but the power of teen hormones is great, so temptation beckons. Dawn has an admirer in Ryan, and when when things have an unexpected twist with Tobey, she turns to Ryan for help. Will he be her mythical hero and rescue her? Or can she find her way as her own hero, turning the curse into an asset?

Not a blood thirsty violent horror film, not a fun look at the genre.

The premise of a midnight movie that has hints of horror but comes off as a brutal satire based in female sexuality and a vigilante tale all in one.

Jess Weixler is excellent in the lead role and makes quite the on screen debut.

The film isn’t as exploitive or sensationalistic as you might expect considering the premise. It and it’s shots are properly composed it feels off putting and isolated as everything is more matter of fact which makes it feel even more creepy. As in a David Lynch directed film where you wonder what dark intentions lie underneath this flaccid facade.

Not only the guilty are punished or become victims of this particular abnormality. Most of the male characters seem to be unlikeable or become that way. As they come across as predatory in some way. As the abnormality is not controllable as it strikes even when she is feeling comfortable and pleasure, but it seems to have an instinct.

As the film proves to be more complicated then at first thought. As it also includes a dysfunctional family melodrama but when her and her stepbrother played by John Hensley who seems intent on making her a victim in someway. The film does manage to surprise. As it seeks to be more then one note that It could have easily been or become.

The film is intense and punishing though chooses to take it’s time and be about more than it’s noteworthy premise.

One can see how some males would feel uncomfortable watching this film as it shows them being maimed, mutilated and disfigured usually in the genital region. Which allows the shoe to be on the other foot and see how some women might have problems watching films that seem to bask in or glorify violence against women.

Though director Mitchell Lichtenstein seems to over reach to try and make the film overly artistic though then again That could just be his style which gives the film an off kilter feel.

It’s an interesting film to watch but if expecting something over the top. You will be disappointed as or goes for something more textured.

Really hope there is a sequel. If anything his movie teaches us most teenage boys are dare rapists. I don’t know how true that is, but the cast is great, Jess Weixler cute bit in an ordinary way makes you believe her and her characters woes.

John Hensley is still A very peculiar looking man. Like a human anime character truly made me hate him and Lenny von dohlen. Great to see him alive always was a fan because of the movie ELECTRIC DREAMS but I haven’t. Seen him on anything since TWIN PEAKS: FIRE WALK WITH ME.

So my final verdict check this out for a Friday night. Not a Saturday night

Grade: C+