Tag: Adaptation

THE YOUNG SAVAGES (1961)

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Directed By: John Frankenheimer 
Written By: J.P. Miller and Edward Anhalt 
Based on the Novel “A MATTER OF CONVICTION” By: Evan Hunter
Cinematography: Lionel Lindon
Editor: Eda Warren

Cast: Burt Lancaster, Shelly Winters, Telly Savalas, Dina Merrill, Edward Andrews, Vivian Nathan, Larry Gates, Pilar Seurat, Jody Fair, Stanley Kristien

A district attorney investigates the racially charged case of three teenagers accused of the murder of a blind Puerto Rican boy. He begins to discover that the facts in the case aren’t exactly as they seem to be.

This takes you back to an era where movies could still be police procedural episodes basically. Only with more star power and elongated with a more personal connection. To the central character. Here is Burt Lancaster. Not to mention directed by the legendary John Frankenheimer in his prime. 

At least the film is based on a novel, an adaptation. So it’s not some run-of-the-mill story. That failed at being an episode of a court show that week. 

Once upon a time they could build a whole film’s narrative around a crime story that seems pretty simple but gets complicated as it goes along. As the deeper Lancaster dives the more that is revealed that has quite a few twists and turns.

Showcasing the supposed dog-eat-dog nature of the slums and the racial unrest. Here between Italians, Irish, and Hispanics. While also managing to be a youth In Jeopardy movie.

The case in the film showcases the political implications that the case causes.

The film is an uneasy watch as it tries to be liberal in its politics. It still feels a bit racist and definitely stereotypical. At times it tries to throw back at both sides and show that no one is perfect and we all have our flaws. Does someone deserve to lose their life over it? 

It also tries to save one of the Caucasian characters as an innocent. A good kid in bad surroundings. Most of the characters could be, they all just learned to adapt to survive.  While the innocent victim gets trashed in court almost like he deserved it. It also doesn’t exactly answer all the questions the case presents.

Every character here is corrupt or criminal. It’s disturbing that the ones of color are the ones shown more thoroughly in that manner. Though get more screen time. 

The subject matter is tawdry but handled in a clean way. As the film goes with what was expected at the time. So an audience can blame the times for the way this movie comes across. As a kind of historical artifact.

There was also the way the film felt. As one is watching it seems like the camera or film was speeding up. To make things happen or appear to happen faster.

Grade: C+

NIGHT AND THE CITY (1950)

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Directed By Jules Dassin
Written By: Joe Eisinger 
Based on the Novel By: Gerald Kersh
Cinematography: Max Greene
Editor: Nick Deamaggio & Sidney Stone 

Cast: Richard Widmark, Gene Tierney, Google Withers, Herbert Lom, Mike Mazurki, Charles Farrell, Hugh Marlowe, Francis L. Sullivan, Stanislaus Zbysko, Ada Reeve 

A small-time grifter and nightclub tout takes advantage of some fortuitous circumstances and tries to become a big-time player as a wrestling promoter.

The film ends up more of an ensemble than expected. As the main character at the center of it all. Though the secondary characters are added in and ends up feeling like so many gears going all at once at the same time.  

So that it keeps the audience mesmerized and engaged. Watching how the narrative tightens and converges and affects one another like a chess match. They are feeding into one another as the stakes are raised and the challenges get more prominent. 

The film is full of love stories and triangles with jealousy and revenge. None were quite sturdy except for one.

This is a thriller centered around a wrestling promotion. Showcasing the business and dramatics involved even back then. As we watch it all come apart. While men are all trying to be the alpha full of bravado and machismo.

Richard Widmark’s performance is filled with manic energy and intensity. Where his character goes through so much intensity. Though always with a Whiff of anger the untrustworthy glamorous bad boy who dresses up as a gangster though is truly a two-bit hood and hustler. Very wiry and athletic he overshadows everyone else in scenes with him. As you can tell he is always thinking and scheming. He has to line up the dominos of making a deal keeping all the parts moving just like in this film.

Keeping the production a well-oiled machine. Luckily Leaving it not all that predictable. While showcasing dynamic examples of shadows and light. Showcasing this tale as a film noir. 

The film has an excitement in the filmmaking. That is assured yet takes its time. Leaving one surprised that the tale takes place in England. Seeing these descriptive old-time faces and tough guys that seem more New York City old school. Then they start talking and you realize where you are once you hear the accents. 

Director Jules Dassin was in the middle of being blacklisted and the studio’s head Daryl Zanuck told him this might be the last film he ever made. This might be why this film is so strong as he seemed to put all his energy and vision into it. 

Like so many classic films It’s partially in the grain. As there is a richness in there that is rare yet all-encompassing. Making it seem timeless yet feels nutritious. As we watch it grow. 

The audience marvels at it. As it’s an example of the best that seems shared with us. A recipe that works better than expected or just right. Where the dialogue feels like lines of scripture. As these are stories to illuminate. 

The film does offer a comeuppance. Even in all these dark stories and corners. Judgment and themes said simply that feed the shadows.

Grade: B+

WEEKEND (1967)

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Written & Directed by: Jean-Luc Godard Based on the short story “LA  AUTOPISTA DEL SUR” By: Julio Cortazar  Cinematography: Raoul Coutard  Editor: Agnes Guillemot

Cast: Mireille Barc, Jean Yanne, Jean-Pierre Kalfon

A supposedly-idyllic weekend trip to the countryside turns into an endless nightmare of traffic jams, revolution, cannibalism, and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.

Throughout this film, we follow a truly unlikeable couple on an endless journey/trip. Who terrorize or are terrorized by all they come across. It gets a bit meta as they know they are in a film. They continually wander into different narratives, scenes, or stories.

They keep coming across more dead people throughout the road and it feels a bit post-apocalyptic at certain points.

The film is episodic that stays with the couple and their various interactions with others. It gets continually ridiculous. As it feels like a stylistic comedy with deeper ramifications with plenty of unexpected philosophy and what feels like satire.

Thought this would be one of his more divisive movies. Where it’s an experimental concoction, but this ends up becoming an almost film. As it was one of Jean-Luc Godard’s films I might actually like and dare I say almost enjoyed it completely.

Though his films fascinate me and keep me coming back to discover. As he or the films usually have something to say or present.

Either that or more commonly he and his films fit the case of the tale of the emperor’s new clothes. Where there is nothing really there, yet people pretend there is, which can be said of a lot of celebrated directors by many people. 

One can admit to being more of a fan of Francois Truffaut’s films. His fellow film enthusiast, reviewer, and co-worker at the legendary film magazine Cahiers De Cinema. 

Godard is a director I can truly call an auteur. As no matter what there is a discussion to be had at the end of his films and no one can call them simple. There is no other director like him though many have tried. one can see how he has inspired so many. 

This film actually feels playful and fun despite the absurdity. As it is most and tends to turn in a dime at times. The first hour has so much craziness but keeps you engaged that when the second half comes along with that same craziness but it starts to feel like a philosophical lecture. Even if he leaves it to the audience to figure out or read into it. 

As always this happens just when I was ready to accept and enjoy. He then pulls the rug under you.

Like the recent film TENET at times the soundtrack is louder than the dialogue. Thankfully there are subtitles throughout. Though if they were left out it would rise to the challenge the director seems to desire. 

The opening scene is certainly erotic with just the power of words and suggestions.

The film Of course has the legendary amazing tracking shot of the endless traffic jam and what various cars and people are all doing during. While the main couple’s car tries to get along the way. Where there is violence and games It ends brilliantly. 

Grade: B

BLACKBERRY (2023)

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Directed By: Matt Johnson 

Written By: Matt Johnson And Matthew Miller 

Based on the Book: LOSING THE SIGNAL By: Jacquie McNish & Sean Silcoff

Cinematography: Jared Raab

Editor: Curt Lobb

Cast: Jay Baruchel, Glenn Hoverton, Matt Johnson, Martin Donovan, Saul Rubenik, Cary Elwes, Rich Sommer, Michael Ironside, SungWon Cho 

A company that toppled global giants before succumbing to the ruthlessly competitive forces of Silicon Valley. This is not a conventional tale of modern business failure by fraud and greed. The rise and fall of BlackBerry reveal the dangerous speed at which innovators race along the information superhighway.

This film isn’t as experimental as writer, Director costar Matt Johnson’s previous films. Though this one is more established it is still brimming with creative energy. 

Maybe, as this is based more on a true story rather than him making it up, so this demands to have a stronger narrative. Though he still finds a way to make it a little unconventional, more personal, and smaller scale taking place mostly in Canada.

No, he does get to keep a certain experimental style and more handheld camera work that gives Scenes More Intimacy and feels like a fly on the wall. It is an amazing true story. That goes into the whole corruption of the souls and values. To make the best product around. 

Though what most will be talking about when it comes to this film is actor Glenn Howerton’s performance mainly known for his performance in the Shell. It’s always Sunny in Philadelphia. Where he plays more of a narcissistic buffoon. Here he is a cold-blooded executive, who eventually becomes co-CEO of Blackberry and constantly seems angry and ruthless.

No, it is understandable, as he seems to be building this company as revenge for his recent termination, and believes in it so much that he is willing to risk his own future his mortgage to keep building this company so that even as Co-CEO he feels he is old, which is why he’s willing to even have to go through a legal means to keep this company growing.

What works is that he and Jay Baruchel’s characters are the Yin and Yang of each other who work side-by-side and off of each other, which helps the company work, but he has more influence over Baruchel character. 

As Baruchel’s character seems to slowly lose his morals and sense of character. Luckily, Baruchel holds his own in a more quiet, subdued way.

Matt Johnson plays more of a supporting character in the background that represents his past and moral center, which is why, when his character kind of accents the film, everything takes it down.

Grade: B+ 

THE KILLER ELITE (1975)

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Directed By: Sam Peckinpah 
Written By: Marc Norman and Stirling Silliphant 
Based On The Novel “Monkey In The Middle”: Robert Rostand 
Cinematography: Philip Lathrop 
Editor: Monte Hellman and Tony De Zarraga 

Cast: James Caan, Robert Duvall, Bo Hopkins, Mako, Burt Young, Gig Young, Arthur Hill, Tom Clancy, Tiana, Kate Heflin, Sondra Blake 

Mike Locken is one of the principal members of a group of freelance spies. A significant portion of their work is for the C.I.A. While he’s on a case for them, one of his friends turns on him and shoots him in the elbow and knee. His assignment, to protect someone, goes down in flames. He is nearly crippled, but with braces is able to become mobile again. For revenge as much as anything else, Mike goes after his ex-friend.

The film plays like experimental jazz. So many elements coming together seemingly Off beat, yet you stay to see where it is going. Considering the talents involved 

James Caan is the lead, laid back and riffing through it all, but showing his skills and talent. Even though his character is supposedly handicapped.

Where it always seems Like he is more a lady’s man constantly flirting or always having a one-liner rather than being a fighter. Though I won’t Front would totally rock the outfit of his turtleneck.

Robert Duvall seems more like he dropped into the production as a favor or a debt owned (think Edward Norton in THE ITALIAN JOB)

The film shows Life at the C.I.A., might not be as exciting day to day, but lacks plenty of action in the field. 

The main characters aren’t suit and tie or all business, nor typical heroes. In fact, it looks like they are all wearing their own clothes from home. As half the film takes place over 2 days. 

They are ordinary guys the type you see around your neighborhood  Back in the day 9 – 5 guys. Who meet up for drinks at a local bar after work to talk and drink their troubles away.

Not too much exciting action. A lot of slow motion doesn’t help. The film Has a messy 3 act structure that seems to have Its own mini-arcs in act one through so many soliloquies. Which leads to pacing problems. 

You are left wanting even when it seems to take side steps to be more quirky. As you are looking for something with more attitude. Though it plays more like a kind of Western with those types of characters.

At times the film is impressive, even more knowing what went on behind the scenes and the messiness of the production. Which includes diced to cast the screenwriter’s girlfriend, and drugs being used on the set. 

As it goes off on its own solos of little twists and turns that add to the overall element of a project. 



In the end, this is a film that seems like it will only be liked by fans of those involved as a completist type of movie. 

This Ends up as sub-par Peckinpah 

Grade: C

SPOILER ALERT (2022)

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Directed By: Michael Showalter 
Written By: Dan Savage and David Marshall Grant
Based On The Book: SPOILER ALERT: THE HERO DIES. By Michael Ausiello 
Cinematography: Brian Burgoyne
Editor: Peter Teschner 

Cast: Jim Parsons, Ben Aldridge, Sally Field, Bill Irwin, Nikki M. James, Jeffrey Self, Sadie Scott, Josh Pais, David Marshall Grant, Jason Gotay, Antoni Porowski 

The story of Michael Ausiello and Kit Cowan’s relationship takes a tragic turn when Cowan is diagnosed with terminal cancer.

Based on a true story, Though it’s still has a kind of tragedy that the title alerts you to, and even the title of the memoir it’s based upon. Which usually is a cliché in LGBTQ stories. Here it is used as an emotional resonance as for the film, it provides an ending, but also a catharsis as this is truly a love story with a beginning, a middle, and an end so that each stage is clearly representing an emotional and it’s on Waze

As it is a love story, it shows the beautiful beginnings. Where are you think it’s going to be the happily ever after, it also does present and show the problems. The small details are usually a part of a real-life love story, but in the movie usually cruise over or never show. 

The happily ever after is only at the end of act one there’s so much more road to travel, and at times it feels unflinching. Nothing is completely solved, but we see how to deal.

It also presents the love story as something universal that everyone can understand and gives humanity to the main characters who are gay and is more of a mainstream love story 

I will admit what attracted me to the story and personalize it is that it’s about an entertainment journalist who I have read over the years and can easily identify with his passion for pop culture, which I think will strike many in the audience

It’s just a beautiful love story after all, and the fact that it’s based on a true story, only helps it as many times it will leave the audience emotional with happiness, joy, and sadness like

No, it does have its points that are more inventive and imaginative. It always stays reliably true even when it reaches its quirky moments. 

The film it’s a lot deeper than expected and you can appreciate its nuances. Though the title says it alone, it still offers. Plenty of warm, surprises and emotions. Where are you? Truly fall in love with the characters as they fall in. Love with each other.

In the end, it’s just been an affecting beautiful story slice of life, if anything love story that most of us dream ever hope for. It’s so heartwarming it feels like a Christmas movie which is what one of the characters is obsessed with.

Director Michael Showalter makes another heartfelt emotional character, driven comedy, wherein its heart is a nerd in love.

Grade: B 

FOXFIRE (1996)

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Directed By: Annette Haywood-Carter
Written By: Elizabeth White
Based on the book By: Joyce Carol Oates
Cinematography By: Newton Thomas Sigel
Editor: Louise Innes

Cast: Angelina Jolie, Jenny Lewis, Hedy Burress, Jenny Shimizu, Sarah Rosenberg, John Diehl, Dash Mihok, Peter Facinelli, Chris Mulkey, Cathy Moriarty, Michelle Brookhurst, Elden Henson, Joel David Moore, Shiloh Strong

The story of five teenage girls who form an unlikely bond after beating up a teacher who has sexually harassed them. They build a solid friendship but their wild ways begin to get out of control

What really saves this film from being a clichéd teen girl film about finding your own inner strength and character, Is Angelina Jolie’s performance. If it had been seen by more people. It would have been a star-making role. She has a charismatic swagger in the film. Like a female James Dean that makes you desire her, Want to be like her, or just have her as a friend. She exudes coolness dripping it all over the screen.

I wish I could say such nice things about the rest of the film. The camera could just lay there except for some curious angles from time to time. The lighting of the film is annoying as there must be a certain brightness. No matter the time or location.

The acting by the rest of the cast is ok. The actresses all look too old to be playing teenagers. I was glad to see Jenny Lewis in the cast. One of my favorite Ex child actresses making a return to acting if only for a short while. (She would soon front the band RILO KILEY) She is one of the few actors I ever wrote a fan letter to as a kid (Alyssa Milano, Candace Cameron, and Soliel Moon Frye being the others) The only bad actor in the film is model Jenny Shimizu. There were rumors of her and Angelina hooking up. Which would play well into the homo-erotic subtext at the heart of this tale. It has that and a theme of independence. Defining yourself and not being afraid to stand up for yourself and of course feminism. This was a film that was rented many times by young female college students when I worked at tower video. It was considered a hot title.

I remember wanting to see it in theaters when I was in High School as I was already a fan of Angelina Jolie from CYBORG 2 and HACKERS. She enchanted me early in her career so that by the time she became popular and famous to mainstream audiences. My infatuation had already passed. I am partly still a fan. She is a good actress and irresistibly beautiful. In the ways at first, Hollywood seemed to shun her for her voluptuous body type and big lips that eventually became a Hollywood standard. She broke the mark and then set it. 

One misses the old Angelina Jolie. It was fun to see her pick various roles that showed a certain bravery and range but like most stars. Now she plays it more safely with projects and roles you would expect from her. She Is more poised now, Not the crazy more candid woman I remember. Know she is still capable of good films. Though after she won her Oscar she looked like she would be another victim of the Best Supporting Actress curse. That usually sees the winners without defined careers get high-profile roles that bomb commercially and critically and see their careers dry up. Since she picked mostly horrible films to be in, but then she found her groove not to mention her image in action films more or less.

The film is a fine rental to see Angelina’s Early work and a good feminist movie. Though it plays more like a small-town stage version of a much better work. Which might be due to the light budget and not-so-strong direction. Nor a necessarily strong script. Which feels more like an episode or short, rather than a full film

GRADE: C

ROALD DAHL’S MATILDA THE MUSICAL (2022)

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Directed By: Matthew Warchus 
Screenplay By: Dennis Kelly
Based On The Stage Musical By: Dennis Kelly and Tim Minchin 
Based On The Book By: Roald Dahl 
Cinematography: Tat Ratcliffe 
Editor: Melanie Ann Oliver 

Cast: Alisha Weir, Emma Thompson, Lashana Lynch, Stephen Graham, Andrea Risenborough, Sindhu Vee 

An adaptation of the Tony and Olivier award-winning musical. Matilda tells the story of an extraordinary girl who, armed with a sharp mind and a vivid imagination, dares to take a stand to change her story with miraculous results.

I will admit to having a bias when it comes to this film. As I saw it on Broadway during its run before it became a movie.

I will also admit that I have only watched the Danny Devito-directed non-musical version in bits and pieces. Ever from beginning to end. 

Watching this film it sticks to the same beats as the Broadway musical. Which is only a bit more impressive because of what they managed to do with only a certain amount of space. 

The film itself is wonderful, dramatic, and fun and encourages children and adults with it’s

Positivity, focus on storytelling and literacy, and the power of imagination. 

The film stays colorful, entirely surreal, and a little grotesque, but amazing in its Songs that are uplifting and positive messages to never forget. The choreography is amazing and tight.

Truly a famous movie that has something for everyone. Though most of the cast are children who are more full-fledged characters. As the adults seem usually over the top and caricatured. At least the bad ones are. It is also heartwarming even in the end. Her parents who have treated her horribly actually show emotions for her.

I will admit towards the end it starts to falter and isn’t as strong as before. Where you wonder where it is going and wish for maybe a little stronger direction in the form of the surreal and fantasy, as Danny Devito’s Direction and less conventional direction in this version. 

The theme of the film Will leave you with a smile on your face and Emma Thompson shows she is having fun playing the main villain in the film, as the headmaster who is a former curling champion. Here at least she gets to play the villain and not necessarily the hero as in her NANNY MCPHEE films. It is a delight to see her in this film.

Grade: B

BIRDS OF PARADISE (2021)

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Written & Directed By: Sarah Adina Smith
Based on the Book by: A. K. Small
Cinematography: Shaheen Seth 
Editor: David Barker

Cast: Diana Silvers, Jacqueline Bisset, Kristine Froseth, Eva Lomby, Caroline Goodall, Daniel Camargo, Osiel Gouneo, Nassim Lyes, Stav Strashko 

Two girls at an elite Parisian ballet academy have their bond and bodies tested as they compete for a contract to join the company of the Opéra National de Paris.

This film is an adaptation of a novel. So that it’s not quite the Junior League BLACK SWAN rip off. that many have dubbed it.

Black Swan, for instance, seems to delve more into a kind of psychological breakdown, mixed with what might be supernatural. Here though it does deal with mental strength and breakdowns everything seems to stay in reality.

The film lends itself more to surreal imagery and scenes, though it keeps its feet and head on the ground. As the characters are dealing with many different issues from weight loss to the pressure of competition, deaths, and family, trying to prove themselves, and so on.

While we focus on the two main female characters who bond and our enemies at the same time. Where they are trying to each bond, yet have the upper hand while keeping secrets from one another that it becomes downright shocking who actually betrays who.

As they truly share everything even a bed, as there is only one in their room soon it is lovers’ feelings, emotions, truths, revealing themselves to each other, physically, and mentally sexually

Sure we have seen this before but somehow the film the state captivating Wild, never really reveals too much except about its two subjects.

As they seem to be the only warmth in the cold atmosphere of their situation, and the film. One character, who is warm, learns how to be cold, and the other who starts out cold, learns to become themselves, and thus thaw out.

Soon the film also becomes about identity and knowing oneself. As they both are on their own similar journeys in opposite directions, one ends up in a more purely sexual relationship, and the other ends up in route one that is not as sexual as usual for her, and involves more emotion.

It has beautiful dance sequences throughout and does not shy away from showing the physical cost of that and somewhat financial costs. It also helps that most of the cast is very eye-catching. Luckily, they are also all believable.

The film keeps her interested as it seems too deep. Every time you think you’ve gotten it figured out, even though there is still a ticking time clock on the ending. 

The ending doesn’t quite stick to the Landing, even though this is an anti-buddy drama.

That while it stays captivating, it just doesn’t have that cutthroat feeling enough to keep you enraptured.

Grade: C+

ASHES OF TIME… REDUX (1994)

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Written & Directed By: Wong Kar Wai 
Based On The Book “The Eagle Shooting Heores” By: Louis Cha 
Cinematography By: Christopher Doyle & Pung-Leung Kwan 
Editor: Patrick Tam & Kit-Wai Kai 
 Cast: Brigitte Lin, Leslie Cheung, Maggie Cheung, Tony Leung,

Ou-yang Feng lives in the middle of a desert, where he acts as a middleman to various swordsmen in ancient China. One of those swordsmen is Huang Yao-shi, who has found some magic wine that causes one to forget the past. At another time, Huang met Mu-rong Yin and under the influence of drink, promised to marry Mu-rong’s sister Mu-rong Yang. Huang jilts her, and Mu-rong Yin hires Ou-yang to kill Huang. But then Mu-rong Yang hires Ou-yang to protect Huang. This is awkward, because Mu-rong Yang and Mu-rong Yin are in reality the same person. Other unrelated plot lines careen about. Among them is Ou-yang’s continuing efforts to destroy a band of horse thieves. Oy-yang recruits another swordsman, a man who is going blind and wants to get home to see his wife before his sight goes completely. The swordsman is killed. Ou-yang then meets another swordsman who doesn’t like wearing shoes. Oy-yang sends this man after the horse thieves, with better results. We then find out what a man must give…

The original cut was released in 1994 I am reviewing the re-edited version of 2008

I will admit that I haven’t watched the original cut yet. This is the same film only re-edited to put emphasis on different things and look at the film in a different way. Sort of like what was attempted when the Mel Gibson film PAYBACK was put out on DVD and re-edited more to the director’s original vision before the production was taken outbid his hands and re-shot and re-edited it’s also similar to the APOCALYPSE NOW REDUX putting back in cut scenes to supposedly make the film richer in content and context.

This is a great movie… To have on in the background of a party continuously playing, but sitting through it is a challenge. I love Wong Kar Wai’s work but I couldn’t wait for it to end. It was like sitting through a music video with its camera work and rapid editing. Though a music video with a thin plot seems a simple reason to link scenes of action together.

This film feels moody as you have to be in a certain type of mood to watch, more open and accepting of the story it presents. I believe the reason I didn’t enjoy it as much as Wai’s other films are that one saw the masterpieces first and came back to watch this film which doesn’t match the greatness of his other films though you can see the seeds. It almost feels unfocused half of the time as to where it is going or what it wishes to convey.

While the film is visually arresting. The story begins to get confusing and boring. When the film is on the verge of getting too boring it redeems itself with an action scene.

Director, Wong Kar wai shows that he is capable of stunning action sequences, which are rather rare in his films, but then he messes them up in this film by making the. In slow motion. Almost like a delayed slow-motion capture. This messes up the fluidity of the choreographed action, but when the scenes run at regular speed they are a sight to behold. This film had an exhausting effect on Wong Kar Wai. While on hiatus during the editing process, he wrote CHUNGKING EXPRESS to “clear his head”.

This is a visually beautiful movie, low budget with a few too many close-ups for no reason it seems. I will prefer and enjoy the first cut just like APOCALYPSE NOW REDUX.

What is interesting about Wong kar wai when it comes to most of his films is that he is a visual stylist as a director, but not, in the same way, directors like Tim Burton works most of the time in his movies. The camera stays still and he lets the sort be about the characters as they reveal relationships and the big story. Now when this is happening the lighting and colors are usually immaculate and use the landscapes to their fullest. And when the camera moves the angles he uses in the scenes are strange, but breathtaking that you feel the movie so much more because at the heart of most of his films are relationships.

It’s like Woody Allen films with less dialogue, no comedy, and no archetypes yet more open and visual. More seems to be at stake and the characters are usually young with more modest incomes plus more sensual than sexual.

It hurts to give this film such a low grade. He has made strides since this film it is an early work that hints at his future vision and genius. Still one of the better and More Interesting filmmakers still working today

 Grade: C-