Written & Directed By: Woody Allen Cinematography: Wedigo Von Schultzendorff Editor: Alisa Lepselter
Cast: Woody Allen, Tea Leoni, Treat Williams, George Hamilton, Debra Messing, Mark Rydell, Isaac Mizrahi, Erica Leerhsen, Aaron Stanford, Fred Melamed, Douglas McGrath, Lu Yu, Barney Chang, Marian Saldes, Tiffani Theissen, Greg Mottola, Mark Webber
A director is forced to work with his ex-wife, who left him for the studio’s boss, bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
This is where Woody Allen lost me after having a period of disappointing films. At this point, I eagerly awaited every new film he had made since 1992. When I saw HUSBANDS & WIVES. Even though some were not as good as others I stayed loyal though I can admit to not seeing the previous two years’ films.
CURSE OF THE JADE SCORPION and SMALL TIME CROOKS even to the day that I am writing this review, but I took a chance on this film and saw it in theaters as I figured it would be a return to form in making fun of himself. That comes across as a tone-deaf parody of himself.
Unfortunately, the jokes are stale and the situations Seem like a good setup but don’t ever come around to getting the best use out of them. It makes him seem out of touch to a certain extent and tries to portray youth he doesn’t exactly understand. Which is characterized by the character of his punk rock son who calls himself scumbag.
There are plenty of Hollywood and anti-California Jokes but even the movie he is trying to make within the movie seems pretty bad.
The film feels almost like it was put together or written like a puzzle. Where it is trying to put itself together as it goes along. To kind of have a running theme and story.
It seems to try and spoof Allen himself with the preference of foreign-born cinematographers who speak little English. Which opens up the avenue of having to hire a translator. Who he confides in about his condition. Who pretty much is his confidante, but who he begins to have artistic conflicts with as the translator who is not into showbiz or movies. Becomes almost a co-director and has artistic opinions of his own. This could have been a great side story of giving more time to it, but sadly more wants to focus on past loves and mental trauma as well as blind director Jokes.
The film is one of the few of his films. At least at the time that felt like an assembly line production. He usually puts out a film a year, comes up with a story fast, and tries to build a screenplay around it without feeling it out or doing follow-up drafts. As it feels like he isn’t trying to have any interest in the material. This might have worked more in the ’80s or ’90s but when it came out it felt. I curated it without any nuance. Jaded for no real reason. Almost a Rushed homework assignment.
As always it feels like a prestige film but has little input and feels haphazardly put together. Especially when it comes to casting which seems very random.
The romance in the middle of the film seems sloppy and unearned other than being entirely predictable.
The film lives up to Its title, but overall the film deserved better and more.
Directed By: Pablo Larrain Written By: Pablo Larrain, Giillermo Calderon and Alejandro Moreno Cinematography: Sergio Armstrong Editor: Sebastian Sepulveda
Cast: Mariana Di Girolamo, Gael Garcia Bernal, Santiago Cabrera, Paola Giannini, Cristian Suarez, Giannina Fruttero
A couple deals with the aftermath of an adoption that goes awry as their household falls apart.
Watching this film is more of an experience. the base there always seems to be a running rhythm or one that the film as well as its Characters seem to be running On.
How a beat builds, how it takes many different elements put together to make not only A song but even a bear which is the Love force the heartbeat of the entity known as music. The same can be said of life, art and That is how this film Works
At first, it seems like the main character is acting irrationally and randomly but as the film goes along we see how she is putting everything together to get what she wants essentially any kind of reward for all of those with who she is involving without their knowledge as to the overall goal.
For a film that seems to be about Mostly dancing there are no sustained long-term dance sequences. As some of the scenes are edited more briskly With plenty of cuts more like a music video.
You believe everything to be random out of freedom then in the third act a reveal happens that brings it all Together.
This is one of the horniest yet not erotic films I have seen recently. As it is erotic but doesn’t exactly aim in that direction. Though the characters seem more exhibitionist and more Hedonistic. As it seems to open itself and showcase open and polyamorous relationships
As the film presents sex and sexuality as non-judge mental more open and quite naturalistic and feral. As more matter Of fact
Directed By: Julia Hart Written By: Julia Hart & Jordan Horowitz Based On Characters from the novel STAR GIRL By: Jerry Spinelli Cinematography: Bryce Fortner Editor: Shayer Bhansali & Tracey Wadmore-Smith
Cast: Grace VanderWall, Elijah Richardson, Judy Greer, Uma Thurman, Judd Hirsch, Tyrel Jackson Williams, Chris Williams, Al Madrigal, Nija Okoro, Sarayu Blue
Stargirl Caraway as she journeys out of Mica into a bigger world of music, dreams and possibility.
while better made than the first film. As it seems to have a larger scope. it also seems to have lost a little of its heart. This one might be a bit better because you know what to expect throughout.
As it tries to keep a positive and romantic tone. It still is paced morosely.
As even though it’s a kid’s film it feels like doom or the rig will get pulled under at any minute.
This one also benefits from a more well-known cast of supporting actors. Who gets more time to actually have their presence felt. Instead of the last film which focused primarily on the main couple.
Star girl still seems to be a beacon of optimism And the guys she falls for seem to be the same type. Here she is not quite as mysterious. Not offering a surprising knowledge of music and classic hits. Though there are plenty of singing scenes.
Not quite a musical in the classic sense but more songs were performed without any choreography or dancing. The difference between seeing a performer and a show.
This film is also a romance but maybe as in the last film they spent more time on the romance and her doing the chasing while staying mysterious. This time around we get to know more about her and the romance just seems to happen. It’s sweet but doesn’t feel like it has as much depth this time around.
It pretty much goes through the numbers and is a sweet film. None of it is really believable but keeps your interest. Especially when it is more made to please its audience of Disney viewers
Though everything feels rushed its pace is like molasses.
Written & Directed By: Ken Russell Cinematography: Peter Suschitzky
Editor: Stuart Baird
Cast: Roger Daltrey, Paul Nicholas, Ringo Starr, Sara Kestelman, Rick Wakeman, Fiona Lewis, John Justin, Veronica Quilligan, Nell Campbell
Composer and pianist Franz Liszt attempts to overcome his hedonistic life-style while repeatedly being drawn back into it by the many women in his life and fellow composer Richard Wagner.
This is a movie it has taken me a while to finally watch and its legend has only grown over the years. It’s writer Director Ken Russell’s second collaboration with The Who singer Roger Daltrey as his star.
This is definitely a film of its time period a very experimental look at the composer Franz Liszt. A very hedonistic film and the character
The film sets the tone early as we are introduced to the character in the middle of a sexual seduction with a married woman. Whose encounter is interrupted by her husband and a sword fight happens meanwhile Liszt is mostly naked throughout.
After that we kind of fast forward into little vignettes of surreality that happen throughout the film. W see him perform to roaring crowds of teen girls who all cry and want to touch him as he plays. That is where we are introduced to many composers but mostly It’s Richard Wagner who will become important later in his life and this film.
Next, we see him in domesticity with his wife the woman from the opening scene. Here we see their life played out like a silent film homage to Charlie Chaplin and his leading ladies. Though we know the road and his hedonism will tear away from this seemingly love story bliss.
The early parts of the film play more like a traditional biofilm as far as pace and l learning about the character. Once he decides to become an abbey and therefore more religious while still maintaining His monstrous libido. The film takes a strange turn that allows for the return of Richard Wagner as a kind of vampire. Who decides to build his own Aryan Frankenstein
At that point, the film becomes more of a surreal fantasy film with history and politics thrown in. As with most Ken Russell films you never quite know what you are going to get, but it will be original and quite shocking. As he is a provocateur.
He made many biographical films about composers. This is one of the mroe outrageous ones. Where he tries to make it fun and a kind fi satire. Though can admit at the beginning it is kind of slow but as the film goes along he keeps building the scenes and sets. So that by the end you can’t help but watch in awe. He doesn’t always hit his targets, but he gets close often.
It’s hard to believe but at a certain point, the film becomes somewhat predictable for the most part. Though offers plenty of homages and allegories
The music throughout is actually Franz Liszt’s compositions only with added lyrics to make them mroe modern songs that express emotions. Which isn’t needed and doesn’t exactly work. As it is like trying to update masterpieces.
This film doesn’t reach the heights of TOMMY, maybe because this film is forced to stay within certain boundaries when it comes to facts. While it doesn’t seem to have as much Joy and deeper meaning as that film. This is quite a nice attempt at offering something different and artistic. Even with the melancholy sadness that the film Carries at times
Directed By: John Landis Written By: John Landis and Dan Aykroyd Cinematography: David Herrington Editor: Dale Beldin
Cast: Dan Aykroyd, John Goodman, Joe Morton, Nia Peeples, J Evan Bonifant, Frank Oz, Darrell Hammond, B.B. King, Junior Wells, Aretha Franklin, Matt Murphy, Erykah Badu, Johnny Lang, Eddie Floyd, Wilson Pickett, Eric Clapton, Steve Lawrence, John Popper, Sam Moore, Paul Shaffer, Clarence Clemmons, Issac Hayes, Bo Diddley
Elwood, the now lone “Blues Brother” finally released from prison, is once again enlisted by Sister Mary Stigmata in her latest crusade to raise funds for a children’s hospital. Once again hitting the road to re-unite the band and win the big prize at the New Orleans Battle of the Bands, Elwood is pursued cross-country by the cops, led by Cabel the Curtis’ son (and Elwood’s step-brother), the Russian Mafia, and a militia group. On his new “mission from God” Elwood enlists the help of a young orphan, and a strip club bartender.
I remember when I went to a screening of THE BLUES BROTHERS for a yearly Special festival that played at RADIO CITY MUSIC HALL. That was part of the movie street festival in years past. Where they would screen classic films as a double feature for one week. They showed a special message from Dan Aykroyd on this film’s set and to be prepared for another classic.
I was excited when the Film came out. It, unfortunately, fell Very short.
Watching a documentary on the artists or their performances would be more entertaining than unfortunately watching this film.
How the mighty have fallen, this film feels strictly like a cash-in on the original and franchise.
All the things the first film does brilliantly. This film either repeats badly or just doesn’t know what to do with it. Even more disappointing is that the original film’s director came back to direct the film. Director John Landis
This is why the films only have good scenes other than the Musical performances. Are the car chase scenes and even there the film seems to go over the top and ruins a good thing
As the story is very thin and badly put together to the point it drags along and comes across as an afterthought.
Dan Aykroyd’s Character is just so unresponsive to most things. It doesn’t make his character interesting or entertaining and desperately needs to bounce off of someone. Even when there are two others who try. Leaving the audience just witnessing acts with no rhyme Or reason. Things just seem to happen and characters just seem to change magically all of a sudden.
Joe Morton’s character for instance and John Goodman go through a total character change due to wardrobe changes.
John Goodman is wasted as he has very little reason to be there and is given very little to actually do.
Truly the performance scenes Are the film’s only Saving grace. This is why most of the cast is made up of them performing and relegated to cameos.
Some are returning from the first film and others seem more who were more popular at the time and maybe missed being in the first film. As this film is mainly mostly a retread of the first film.
The film is way too long, and the jokes don’t work and never would. Unlike the musical scenes, the humor seems odd to base, like it was hilarious when conceiving but didn’t play well at all.
If you must watch it. This is the Rare film where I say feel free to fast forward to the performances. If anything it reminds you of how good the original film was and how this film deserves its Legacy.
It is one of those projects that was good in theory but should have been shelved. It comes across as an almost kid-friendly Version of the first film.
Directed By: Le-Van Kiet Written By: Ben Lustig & Jake Thornton Cinematography: Lorenzo Senatore Editor: Alex Fenn
Cast: Joey King, Dominic Cooper, Olga Kurylenko, Veronica Ngo, Alex Reid, Ed Stoppard, Kristofer Kamiyasu
When a strong-willed princess refuses to wed the cruel sociopath, she is kidnapped and locked in a remote tower of her father’s castle. With her vindictive suitor intent on taking her father’s throne, the princess must save the kingdom.
This film was like a female version of THE MUSKETEER. Only that film felt a little cutting edge. There is plenty of action but after a while, it feels very basic and less noteworthy. As the fights are definitely impressive at first but soon become mundane. Not because of the stunt work but because they start to look similar only with a different finish or challenge. As one might wear armor or might have a helmet.
This film is also like a female teen version of THE RAID only not as violent and not as impressive. Only here the protagonist is working their way to the tower. The most violent act is saved for the villain in the end. It also doesn’t have as much humor but does try to say something about gender roles, even in medieval times.
There is nothing wrong with using previous elements to make a film that reaches a certain audience and while the film at least has its motivations. It still comes off more as an entertainment commercial rather than something with passion or a stronger heart, but if that is what you seek you shouldn’t be too disappointed.
I have to give it to the actress and star of this movie, Joey King. She certainly works a lot and has paid her dues. So it’s nice for her to get a film that she again gets to shine in as a star.
The film is pretty cut and dry. You get what you expect and it is certainly entertaining with food fight choreography and a Slight sense of humor
Written & Directed By: Quinn Shephard Cinematography: Robby Baumgarten
Editor: Mollie Goldstein
Cast: Zoey Deutch, Mia Issac, Dylan O’Brien, Nadia Alexander, Embeth Daviditz, Tia Dionne Hodge, Brennan Brown, Karan Soni, Dash Perry, Sarah Yarkin
An ambitious young woman finds followers and fame when she poses as the survivor of a deadly attack, but she soon learns that online notoriety comes with a terrible price.
The time is a satire and goes overboard to remind us throughout as there are few characters and more just representations. As we are warned the protagonist is unlikeable, but that goes for Most of the characters throughout.
One of the everlasting conceits of satires is Caricatures and the works have cynicism throughout. Usually, you can understand why.
Here the cynicism is there but Also seems to make most of the characters.
The film takes the view that the main character is a privileged caucasian girl and just as it points out. The film mainly stays in that perspective as most of the other characters are the same.
The only time the film departs from those characters is to show the innocent victim who she befriends and is inspired by, as well as the girl’s family. Though before this we only get glimpses of any other characters of color who are more played as familiar stereotypes rather than anything. Resembling a real character or just going against type
Once she realizes how hollow what she supposedly wanted the whole time fame is. Truly represented by a sexual encounter with her crush an influencer. Where the sex is disappointing and afterward doesn’t respond to her text she then finds true friendship in her therapy group which exposes her to real people and their pain and that is when she seems to try to change.
Only to be called out or exposed by a co-worker not because it is the right thing to do, but mroe out of jealousy and the film posits the whistleblower as a kind of hood character because as she points out despite it all she at least never lied. Which is only true to her characters in a National sense and way. Not like she never did. As we see her do it earlier in the film.
Unfortunately, that is how it feels throughout this film. the filmmakers As well as the characters all feel like they are preaching by not trying to come off as preachy. They also seem to believe they come off better from it. So that it feels like a film Made for and by the characters themselves
It might have been more interesting if the film focused more on the fallout and repercussions. Even the mroe scary ones, like when she is confronted by an ex-soldier who gets physical with her.
The ending works and probably is the better part of the film. As the second half of the film in general is better. Though that might be a case of having to suffer through the first half. To see why makes the second half so much more enriching.
The problem with the ending is that while the film reminds us that the protagonist is unlikeable, the one thing she actually does that is admirable is that she inspires the innocent character to use her voice and raise awareness. Which makes it ironic, Only after the selfish character stole her sayings and helped cast doubt on the truthfulness of the innocent story.
What truly saves the film is the second half of the film. Which feels more on point and the
Performance of Zoey Deutch in the lead role. Not only is she believable but she is so energetic throughout. That while her character doesn’t have charm the actress does. Which makes the Audience pay attention and able to stand her character.
Cast: David Schwimmer, Chris Cooper, Emily Procter, Matt Frewer, Kathleen Wilhoite, John Stockwell, Louise Fletcher, Terry O’Quinn, Lisa Marie, Amanda Foreman, Lyle Lovett, Julie McCullough, Rena Riffel, Raphael Sbarge
Two doctors create breast implants. However, when success and money come their way, they separate and follow different paths.
An HBO original tv-movie made for cable when it came out. Using the formula of two popular actors not quite strong enough for a box office release. As the subject which you would think fills seats isn’t quite ready for the big screen.
The film has a good handle on the subject by presenting us a story of characters who seem to have our attention and sympathies at first but then get affected by greed and sort of switch places but in the end are characters we despise.
Don’t know how exactly fact-based the film is but it stays sleazy as the characters and subject matter does. While keeping your interest. It is loosely based on fact obviously to keep it more dramatic and interesting and offer a more moralistic tale.
As there is plenty of nudity on display which is understandable considering the subject, but obviously more under the male gaze most of the time. As well as having unnecessary sex scenes.
As we have scenes where women offer their stories and confessions. Where we never see their face, only their breasts, as they talk.
So that it becomes more exploitive than maybe it was initially conceived or maybe that was the plan the whole time to mix the exploitive with the dramatic and offer some kind of poignancy.
As David Schwimmer’s Character goes from being a brilliant surgeon to more on the shy side and having an obsession with breasts and an idea on how to revolutionize plastic surgery on them. To begin, change by success and general greed. To where he seems to have lost his soul. When the consequences of these surgeries present themselves later and he finds no guilt within himself even when his mother is one of the people he performed the procedure on.
Chris cooper’s character at least shows having the most soul. At first not have faith in Schwimmer’s character then goes into business with him but goes their separate ways when Schwimmer feels he deserves more credit and copper’s character is more conservative and performs more for the elite. Whereas Schwimmer seems to perform for whoever as long as they can pay and alter the ethics. As They both reach cruel yet poetic justice ends.
One of the obvious problems of the film is the title says it all. How to tell this story delicately or at least tastefully and there isn’t.
As it is an interesting subject but unfortunately this story of discovery isn’t populated with worthwhile Decent characters. They are filled with characters who seem to want to do the right thing but money and success go to their heads.
In the end, it feels like a film that wants to be moralistic and a dark comedy with dramatic overtones. That unfortunately isn’t that funny and comes off as awkward and dirty.
Written & Directed By: Elaine May Cinematography: Vittorio Storaro Editor: Richard P. Girincione, Stephen A. Rotter & William Reynolds
Cast: Warren Beatty, Dustin Hoffman, Isabelle Adjani, Charles Grodin, Jack Weston, Tess Harper, Carol Kane, David Marguiles, Aharon Ipale, Herb Gardner, Fred Melamed, Matt Frewer, Alex Hyde White
Two terrible lounge singers get booked to play a gig in a Moroccan hotel but somehow become pawns in an international power play between the C.I.A., the Emir of Ishtar, and the rebels trying to overthrow his regime.
The history of this film is infamous. From all of Its problems behind the scenes and on the screen. That it was considered a failure. So much so that I am so shocked that no one has written a book about it.
This comes off as a major failure but an interesting one. Not a car crash Per se
As the film seeks to mash a bunch of genres and types together. It tries to be a comedy where you can hear the jokes in the writing but the delivery is stiff and kind of shows the efforts of the actors who are more famous for drama overall really trying. Yet failing
It also is a kind of International road comedy. That is a kind of Bing Crosby and Bob Hope throwback. That then seems to become a loose espionage film.
The first 26 minutes could have been cut shorter as they introduce the characters and feels like an indulgence for the film to set up the characters and their dilemmas. That feels more like a character comedy which writer-director Elaine May is more famous for.
After those initial scenes once we make it to Morocco where the film’s actual plot starts. That is when the film feels like at least it has started to move. Even as the film feels longer than it actually is
As we can see the ideas on Display but they Don’t seem to connect. so that instead of seeing a production this almost comes off as cold reading or rehearsal
This film could have been a forgettable 80’s comedy. The only problem is that with the big name talent on display it magnifies everything and makes the film more interesting in studying than actually looking for entertainment.
At times It’s painful and at other times it is amusing. As this film seems like it wants to rest on the laurels of Its star’s star power to carry it. As that sometimes works in bad comedies that stay passable on the likeability of the star
It might have even been salvageable or understandable if it starred two actors more known for comedy. Though with two stars who are known for perfectionism and trying an out-and-out comedy rather than any drama. Was a recipe for disaster.
Especially when you have the stars kind of switch roles from the type of roles they usually play with Dustin Hoffman mroe being the ladies man and Warren Beatty the romantic dumb one who is mroe nerdy
One can only imagine writer/director Elaine May, more known for long takes, shooting a lot of footage, and putting films together in editing. Directing two actors known for being particular and revising scripts to their expectations and have been known to take over productions to fit their standards overall. Was quite the match
The film seems like there might have been some Improv at times though also scripted more when it comes to the plot threads. This would also explain why some scenes feel monotonous In Length and dialogue. Like skits, they aren’t working
It might have been funnier if the characters’ manipulation and distrust of one another we played up more. As we know the characters are dumb and in over their heads already. Though it becomes a buddy comedy that started off in that way
Even though they distrust one another to a degree eventually it is so fast. That separation is never felt. As usually in buddy comedies, friction between the leads is part of the entertainment and watching them come back together only resonates with the depth of their friendship and loyalty.
This for s across as an example of the excess in the 1980s and how it affected Even those you counted on for quality eventual icons well into their careers to know better and why they might have become even more particular
It seems like a typical studio comedy where the package was more important than the actual ingredients, story, or material. Not a particularly high concept In plot but talent definitely
Unfortunately, it is also so far the last film Elaine May directed, and it’s a shame as most of her movies, even this are great in their own way, classics. This one more so for being an example or made an example of whereas the others were excellent quality. So that she showed a master of writing-directing in the comedy A NEW LEAF and drama MICKEY AND NICKY
As Isabelle Adjabi and Charles Grodin come off more professional And one note. Though Adjani seems like she’d rather be anywhere else. Their roles and playing up what they know or are expected of them. As they come off more as Hollywood in this film and like they belong in the part of the film they are in. Whereas Hoffman and Beatty belong in the movie that is the first act but then become entangled in the rest where they stick out which seems like they were part of the plan. Though the mixture doesn’t work as you might want to see, the first act continued in one movie, and the later film is more plausible with different actors and characters coming Into it
This just feels like a movie more for film fans or Hollywood and Tinseltown historians rather than the. Maybe a general audience unless fan completists if the main actors. It’s not as horrible. As it has been labeled. Trust me It’s not good, but it is fun in so bad it’s Good. It’s just not that engaging as it constantly feels like a production
Even if the actors played the right roles it would not save the film but while it looks initially done to be funnier and a stretch for both of them. It ends up coming Off weak and would have fixed one of Its Many problems
Mismatched as they play songwriters but they can’t sing well their characters nor the actors appear and while some of the songs are catchy in the writing scenes the performance is horrible. That originally there was going to be a soundtrack but that was scraped after the film bombed
If the Morocco scenes weren’t so heavy and most of the film. The film could have just been a misfire. As if the characters stayed in New York as we marvel at their failures. Through the depth of their friendship. You can Understand what attracts the stars. As this was a bit of a comeback for each of them
Or was supposed to be. As both had been away from the big screen for five years and their previous films before this were considered classics these days
Like dumb and dumber in the dessert international. Silly and fun and plays stupid but smarter than it comes across. As it is an epic failure that has so many mishandling yet good intentions and ideas. That is more purely comedic but some spoofs and like the decade excessive in many ways
Then it all ends abruptly though it feels like it goes a long way just to get to the joke that is the ending while clearly showing Its inspiration so just like the Bing Crosby Bob hope films you have two iconic popular stars all heir for drama starring in a road to type comedy an expensive one that is all over the place
Which makes the film a Hollywood artifact that matches the likes of Brian de Palma’s bonfire of the vanities with the film’s problems in the making, post-production, and marketing. With songs co-written by Paul Williams which might be why I when a weakness for them
Cast: Anna Cobb, Michael J. Rogers, Holly Anne Frink
Alone in her attic bedroom, teenager Casey becomes immersed in an online role-playing horror game, wherein she begins to document the changes that may or may not be happening to her.
The experience of watching this film is like being on The internet and following a person or story randomly at times but more focused. Watching this on an actual computer or laptop one can imagine would only enhance it and make you feel more immersed.
The film uses what you know already to help tell the story. How loneliness feels and an obsession can take over. The desperation in making a connection. Changing your identity to fill A role.
The film remains creepy throughout. Making the simple so scary and disturbing. Keeping an alienating mood. Yet feeling so personal.
You keep waiting for something worse to happen. That is the atmosphere of the film. Which is powered by your imagination and fear. In a good way not as a cheap ploy commonly used in subpar PG-13 studio horror films.
Where not only do the trailers offer the sin of giving too much away in the preview but also the feeling it might as well have gone full rated R. So it doesn’t feel so restrained. Not to mention would make the film somewhat memorable if even just for the more naughty parts and probably would have made as much money either way. Which still wouldn’t have been enough but I guess the studios hope teens who are sneaking into other films will buy tickets or who want to see more mature movies but can’t get tickets to a rated R movie settle for Disturbing and intense more mentally even though it is framed as a game. As we are offered clues and details in the background that only a few are acknowledged and come into play.
It might remind some of the early 2000s indie cinema. Where once in a while really felt creative and innovative. While seeming more like a more mainstream shell.
Told through the camera. Not necessarily through complete scenes.
It’s the intention of what we are used to from traditional narratives. It tries to subvert the ordinary and flow. Even watching the videos of one character strangely feel opened to more than just the character
Though most of the images and material are minimal. Yet the film sets your mind a blaze as to what could happen.
Hard to exactly explain the film other than to say it is more cerebral and for the adventurous. As it is definitely not for everyone
Cut To The Chase 