DESPERADOS (2020)

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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+ 

GOING TO BRAZIL (2016)

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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. 

GRADE: C-

THE HUSTLE (2019)

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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 

THE CLOVERFIELD PARADOX (2018)

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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

GRADE: F

TEETH (2007)

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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+

NEVER, RARELY, SOMETIMES, ALWAYS (2020)

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Written & Directed by: Eliza Hittman
Cinematography: Helene Louvart
Editor: Scott Cummings

Cast: Sidney Flanigan, Talia Ryder, Sharon Van Etten, Ryan Eggold, Theodore Pellerin 

A pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy.

Not only a good movie, purely New York movie, a movie that reminds me of the many adventures New York offered pre-Covid for youth but an emotional tour de force that takes you through it. 

It’s a delicate film that is all about the details. Including a lead performance by Sidney Flanigan that is strong. It necessarily in what she says but what she says in her silence and body language.

This is  a movie that is raw & natural and totally believable in The films docudrama filmmaking but also outstanding acting in more a physical way where the silences enhance the mood but also say everything that is not being said 

Especially in the scene where she must answer questions at the clinic and the answers out of the multiple choices are the title of the movie and the camera never leaves her face as she answers and gives us some background on her character and situation.

Though it does showcase a strong form of family and relationship between her and her cousin including the lengths her cousin is willing to go through for not only her but also from them to survive the streets of New York.

We see her home life and see why she is making the decisions she must. As she has a lazy stepfather who doesn’t even try to hide his contempt or his careless nature for his girlfriends kids and especially her.

This is a slight disappointment not in the film but myself. As I didn’t feel the film as much as many others obviously did. It didn’t necessarily speak strongly enough, but I can recognize Its beauty, power, and strength 

Though also while never a crowd follower the film never reaches the expectations that were built up by others who praised the film. That never quite came ahold. 

It’s not a bad film very far from it. For me the film just never felt like it strongly connected with me. Even though I can see its quality. 

Definitely would recommend for others. As it is a smaller film that should be seen. As it is a small

The Film that packs a wallop especially when not looking. Though don’t come looking for a shocking ending out of nowhere or a sad element that seems to take over all that has come before. 

Though I know it shouldn’t count. Seeing it on a smaller screen doesn’t help. As if seen in a theater the film seems like it is meant to be mroe of an experience where the audience is meant to follow and practically be by the main characters side constantly. So that we are practically experiencing it with her. 

On a smaller screen it’s easier to get distracted. And for us not to necessarily be as strongly immersed in the proceedings. It’s a humanistic look at a problem that persists in society that tries to put more and more regulation on it.

Grade: B+

AMERICAN ASSASSIN (2017)

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Director: Michael Cuesta 
Written By: Stephen Schiff, Michael Finch, Edward Zwick & Marshall Herskovitz 
Based On The Novel By: Vince Flynn 
Cinematography: Enrique Chediak 
Editor: Conrad Buff IV 

Cast: Dylan O’Brien, Michael Keaton, Sanna Lathan, Taylor Kitsch, Scott Adkins, Charlotte Vega, David Suchet, Shiva Negar 

Twenty three-year-old Mitch lost his parents to a tragic car accident at the age of fourteen, and his girlfriend to a terrorist attack just as they were engaged. Seeking revenge, he is enlisted by CIA Deputy Director Irene Kennedy as a black ops recruit. Kennedy then assigns Cold War veteran Stan Hurley to train Mitch. Together they will later on investigate a wave of apparently random attacks on military and civilian targets. The discovery of a pattern in the violence leads them to a joint mission with a lethal Turkish agent to stop a mysterious operative intent on starting a world war in the Middle East.

Director Michael Cuesta has come along way since his debut films L.I.E. And 12 & HOLDING. He has proved himself to be a journeyman director. As he has come from coming of age independent films to studio dramas and nor a full fledged action film. His first which seems to try to become a franchise but works as a one off also.

The film was being planned for a while as quite a few directors were attached such as Ed Zwick, Antoine Fuqua and Jeffrey Nachmanoff. Just as many actors were either offered or considered for the leading role such as Chris Hemsworth, Colin Ferrell, Matthew Fox and Gerard Butler.

The films action sequences are serviceable. They just seem to be violent more in one on one encounters. As the scenes try to be more intimate in the violence but feel broad. As the film truly wants to show blood and guts. So that it plays more like an 1980’a type action film starring an actor you wouldn’t think of or consider for this type of film. Played by Dylan O’Brien Which is what might make his character easy to underestimate or even suspect.

Equally impressive is knowing what the star Dylan O’Brien went through in real life to make a come back the screen in an action film. With plenty of stunts. After suffering a war fatal accident on another movie that left him hospitalized for quite a while.

The film is a mix of espionage and revenge thriller. No one nor any of the story truly makes too much of an impact as the movie pretty much plays by the numbers.

The film has female characters who are all attractive but really have nothing to besides that. They give one character an action sequence where she loses the battle and Saana Lathan’s character while one of the authority figures is only there to authorize and put plans together.

This film is pure action with little to no sex and seduction. Though the film does involve a gory torture scene that was too much for me.

Taylor Kitsch as the villain unfortunately has no presence his character is vague and never quite makes an impression and feels very non descriptive. Though he does take his shirt off a lot. Which weakens the film as then it feels like a battle of the heartthrobs. The tough sensitive one and the bad boy. Which then makes it seem more intended for teenage girls. 

Scott Adkins in a supporting role only seem to be late for scenes meant to show us how tough our lead is going toe to toe, skill to skill with him. Where as if that was what is supposed to be meant. Why not just make him the villain? Then again it seems best to have the heartthrobs against each other in the ends for a more violent tiger beat magazine stand off where only one can survive. 

Michael Keaton seem here for star power more than anything. Also to maybe create an iconic mentor for the main character. As he is believable but deserves better. He replaced Bruce Willis who dropped out.

The main character has nothing and no one to tie him down or wonder what happened to him. Which seems more convenient while trying to infuse his characters loneliness and why having someone taken away from him matters so deeply. Though he does live off a inheritance which also seems to be a huge convenience. That seems to give him a Batman type scenario only with taking down terrorist for the government.

Grade: C

UNPREGNANT (2020)

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Directed by: Rachel Lee Goldenberg 
Written by: Rachel Lee Goldenberg, Jenni Hendricks, Ted Caplan, Jennifer Kaytin Robinson & Bill Parker
Based On The Book By: Jenni Hendricks & Ted Caplan 
Cinematography: Doug Emmett
Editor: Julia Wong

Cast: Haley Lu Richardson, Barbie Ferreira, Giancarlo Esposito, Breckin Meyer, Alex Macnicoll, Sugar Lyn Beard, Denny Love, Betty Who, Mary McCormack, Jeryl Prescott 

A 17-year old Missouri teen named Veronica discovers she has gotten pregnant, a development that threatens to end her dreams of matriculating at an Ivy League college, and the career that will follow.

This film doesn’t really offer anything new. Except for teens who are savvier. even when it comes to birth control and sex but still find themselves making the same mistakes.

While I can give the film some points for being witty. It is mroe episodic and comedic in nature than the situation would have you believe. Like the similar film from. The same year NEVER,  SOMETIMES, RARELY, ALWAYS 

It deals with teen pregnancy and abortion but here. While it has its dramatic moments. The film ends up being a kiddy comedy and road trip movie a live all Else.

A coming of age tale about two best friends reuniting and eventually finally communicating and learning g about themselves and each other finally being truthful in the minefield of teenage life and high school.

One of the most appealing aspects of the movie is that while it is made for all audience members and some adults might actually enjoy the film. The film is obviously made for teenagers. Characters they can identify with and the filmmakers are smart enough to make it a film not full of preaching nor talking down-to the audience but offering characters who aren’t perfect and make mistakes but also are likable and loyal.

Of course most of the characters they meet along the way move the story forward but feel more like stick characters or comedic relief. Who only help to confuse the situations and characters.

The boyfriend character I am happy the film dismantles and exposes. Where he still has toxic masculinity even though he believes himself to be right because he is nice and sensitive. Yet still seeks to control his girlfriend and kind. Even though when the condom broke but neglected to tell her. Even tho consensual could easily also be seen as sexual assault. The film doesn’t go there but seems a little implied 

Also though the movie is entertaining again Haley Lu Richardson walks away with the movie and it shows that she has graduated from this type of material. She has been in So many of these films at this point. That while she is good. She deserves better.

Barbie Ferrera is the only other movie I have seen her in other than EUPHORIA the television series and while this character is less sexual. She is still kind of the outsider and she excels at the character. 

Grade: C+

TIGER GIRL (2017)

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Directed By: Jakob Lass
Written By: Jakob Lass, Eva-Maria Reimer, Ines Schiller, Hannah Schops & Nicolas Woche
Cinematography: Timon Schappi
Editor: Adrienne Hudson & Gesa Jager

Cast: Ella Rumpf, Maria-Victoria Dragus, Enno Trebs, Orce Fehschau, Franz Rogowski, Lana Cooper 

Having failed to get into the police force, Margarete takes up training as a security guard. One night she runs into a sexually aggressive ex-colleague who insists on hailing a taxi to take her home to his place. Enter Tiger: short brown hair, a tough girl and a fighter, the cab driver. Realizing that the situation is far from consensual, Tiger speeds off with Margarete, leaving her companion standing in the street. It won’t be the last time she rushes to Margarete’s aid. Tiger lives in an attic flat with two men. She knows how to wield a baseball bat. Stealing a uniform from security and renaming Margarete ‘Vanilla’, she begins to steer her life in a completely different direction.

Not quite sure what the point of the film. Then again with five different credited screenwriters. That could explain why the film goes off in so many directions. Even though supposedly most of the films dialogue was improvised. 

Is, as the poster makes it almost look like a vigilante film and the way it plays out is an adult coming of age film. Where the two main characters don’t exactly switch personalities but it seems the influence of one in trying to make the other confident creates a kind of monster that has been lying underneath.

So that the film becomes slightly psychological but never quite reaches a dramatic depth. Most of the characters are unlikeable throughout 

The film does come alive in random Fight scenes. 

The film plays like a character study where one character is quiet yet wants to be in power as a security guard. She is read randomly by a random person yet never does anything with it though explains her behavior to the audience to a certain degree.

The film starts on many levels thinking it will be a female-empowering vigilante movie, then a revenge or even a bad influence movie, but it seems the characters mentality changes and switch personalities to a degree. Where one becomes more aggressive and crazy with power. Whereas the other injured and dealing with several degrees of loss becomes more quiet. As her friend also seems to go crazy.

Where the audience might be hoping for a kind of superheroic third act. Where friend becomes nemesis and we realize we watched the origin story of each side. It never goes there.

It does show the title character has bad taste when to comes to those she chooses to trust. 

It even sets the stage for a villainous male but does nothing but set up more of a reason for one characters rage.

The film seems to have a bunch of elements running around that influence one another but never come together cohesively to make an engaging film in whatever genre it so chooses. As it seems the film realizes it doesn’t have much to run on and decides to make things up late to add Some action to the film

As vanilla becomes a sociopath due to repression, failure and always being told what to do as well as

The film might have been stronger focusing on one or the other strongly and then letting the other be seen more obscured to see how they affect each other and at least give more of a full range to at least one character. 

GRADE: D

THE IMAGINARIUM OF DOCTOR PARNASSUS (2009)

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Directed By: Terry Gilliam 
Written By: Terry Gilliam & Charles McKeon 
Cinematography By: Nicole Pecorini 
Editor: Mick Audsley 
 

Cast: Christopher Plummer, Heath Ledger, Lilly Cole, Andrew Garfield, Verne Troyer, Tom Waits, Johnny Depp, Jude Law, Colin Farell

In London, the sideshow troupe of Doctor Parnassus promises the audience a journey to the “Imaginarium”, an imaginary world commanded by the mind of Doctor Parnassus, where dreams come true. In the stories that Doctor Parnassus tells to his daughter Valentina, the midget Percy, and his assistant Anton, he claims to have lived for more than one thousand years; However, when he fell in love with a mortal woman, he made a deal with the devil (Mr. Nick), trading his immortality for youth. As part of the bargain, he promised his son or daughter to Mr. Nick on their sixteenth birthday. Valentina is now almost to the doomed age and Doctor Parnassus makes a new bet with Mr. Nick, whoever seduces five souls in the Imaginarium will have Valentina as a prize. Meanwhile the troupe rescues Tony, a young man that was hanged on a bridge by the Russians. Tony was chased until he finds and joins the group. Tony and Valentina fall in love with each other and the jealous Anton discovers that his competition may be a liar.

The thing when it comes to Terry Gilliam’s films is that his films are so far off the beaten path that it takes a while to get used to while watching his films. But once you get used to his world and get onto the rhythm of his films you are usually in for a treat. The man’s imagination is so vivid that you are guaranteed to see things you have never seen before.

This film I wanted to love but ended up liking the ingredients were there Gilliam writing with Charles McKeon who he co-wrote THE ADVENTURES OF BARON MUNCHAUSEN with. They create a vivid original world and characters but in many ways, it feels like it falls short. 

The story is Doctor Parnisuss made a deal with the devil that for immortality and the hand of the woman he loved the devil could have his daughter when she turned 18. They have an ongoing game. That involves a magical mirror. A mirror where people go into a fantasy world and can choose either light or the darkness if they go to the darkness the devil gets their soul if they go into the light they are given a euphoric joy that gives them delight and their fantasy come to life. He tries to find a way out of it but when the devil comes to collect he makes another deal the first who can get 5 souls wins. This would be a tragedy if not for saving Tony a mysterious rogue they find hanging off a bridge they save his life and tony repays them by coming up with a way to save their business which is a traveling circus, Side show with the magical mirror.  

This is Heath Ledger’s last film. He, unfortunately, died before the film was finished and his role is played in different scenes by Colin Farell, Johnny Depp, and Jude law which in its own way works as they all play fantasy versions of his character and it feels seamless. 
One always felt Heath ledger had the talent for bigger and better things and luckily he never had mainstream tastes when it came to roles he was always attracted to the more abstract roles which I felt would lead him to be the next Johnny Depp as early in his career he also was more in artistic films then later in his career finally choose more mainstream roles.  

The casting of this film is good Verne Troyer plays a good role not as comedic as usual. Christopher Plummer is a hoot as Doctor Parnisuss he is clearly having fun. Tom Waits as the devil is always a joy to watch with his original looks and charisma. 

While one might prefer old school special effects and would like them to be used more, but though this film has tons of CGI it works for the story as it enhances the film and is useful more than anything else to help tell the tale in vivid detail. 
 

Now while I liked the film I never became invested in the film and felt like I was always kept at a distance from the characters and story. But I must give Gilliam credit as to how good the film is considering the tragedy that happened halfway through filming. 

One only wishes he could get the budgets and more luck when it comes to the making of his films it seems he always has to struggle to get his dream projects made then has to compromise or settle on films that while they have his creative genius. They just aren’t the films he should be making. They seem a little too streamlined and commercial for his artistic tastes. 


He is one of the last auteurs we have. He is a director who in the ’70s would have had people lining up around the corner to see his latest works because they would be guaranteed to see something original. Now he has a hard time Making films because his material is too original. 

The film has its own beauty and is interesting to watch, unfortunately it doesn’t last on the mind s much as past works of his have.  A Satisfying Rental  
GRADE: B-