Films, Films, Films
"The Fundamentals of Caring"
starring: Paul Rudd, Selena Gomez, Craig Roberts, Julia Denton, Jennifer Ehle
written and directed by: Rob Burnett
All right, Netflix is producing shows and movies like they are the Second Coming or perhaps like the end of the world is near, which lends itself to producing really terrible things (re: a six-movie deal with well past his prime Adam Sandler) and then amazing things (re: House of Cards). This film falls under the category of mediocre, thanks to its cast- all of whom put their best efforts in it- and no thanks to the cliche-filled script in a dramedy that often times digs itself into holes it cannot get itself out of.
Attempting to find work and dealing with divorce papers he’s avoided signing for over 2 years, Ben (Paul Rudd) decides to become a certified caregiver. His first job is helping out Trevor (Craig Roberts), a young man with duchenne muscular dystrophy. Trevor lives with his overprotective mother and hasn’t been very far from his house his entire life. Trevor is fascinated with roadside attractions and Ben begins asking him why he doesn’t just go and see them. Trevor claims he doesn’t want to, but suddenly has a change of heart after an argument with Ben. Now the two men are heading out onto the road for one week. Along the way they meet up with an attractive hitchhiker (Selena Gomez) that Trevor becomes infatuated with, and a pregnant woman (Megan Ferguson) trying to get to her mother’s house before her due date.
There's something deeper there going on with Ben, which we get in bizarre slow motion flashbacks. It's clear that something happened to his son and what that is, is so predictable. Ben is dealing with a terrible accident in his past, having difficulty sleeping and simply dealing with the things in his life. Trevor deals with his disability through humor. He’s sarcastic, occasionally rude, and doesn’t mind a few self deprecating jokes here and there. These characters are pretty much the definition of road trip buddies in a film like this.
The chemistry between the characters is what really helps this film. Even though, everything that happens and the third act resolutions are predictable, it's still a worthy, entertaining film with a good message.
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"The Giver"
starring: Jeff Bridges, Meryl Streep, Brenton Thwaites, Alexander Skarsgard, Katie Holmes, Odeya Rush, Cameron Monaghan, Taylor Swift, Emma Tremblay
written by: Michael Mitnick and Robert B. Weide
directed by: Phillip Noyce
The Giver was one of my favorite books in middle school, although, to be honest, I'm not sure I fully understood it and its heavy themes back then. I've read it several times since middle school, and now that I understand it, I have to say, I think it was one of the first teenage dystopian stories, perhaps a bit ahead of its time and really fits well within this decade thanks to "The Hunger Games." It's too bad it took Jeff Bridges this long to have the film made, because it certainly falls flat(er) than its more pressing predecessor.
"The Giver’s" dystopic society is a manmade invention born of good intentions. Following the unexplained Ruin, humanity has reorganized itself into colorless Communities, where contentment is achieved by means of a bland but aesthetically pleasing conformity and daily injections of an emotion squelcher. All memory of the past has been erased, save for one soul chosen by the all-seeing Council of Elders to be the Giver. As the movie opens, Jonas (Thwaites) has been selected to be the new Receiver of memories. Although the Community (which is what its residents call the place where they live) has no knowledge of civilization’s accomplishments and history, they also have no knowledge of hatred, war, and conflict.
Filmed mostly in black and white, for a reason, as Jonas is given the memories, colors start to appear in his world, much like the film "Pleasantville."
With a decent first half, the film starts to lose itself and its traction as things pick up steam and that's where it loses the viewer, inside of exciting like in The Hunger Games, the action loses you before the climax. I feel like everyone has read the book, so everyone knows how it ends and its the filmmaker's job to make sure you want to watch all the way to the end.
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"King Jack"
starring: Charlie Plummer, Cory Nichols, Christian Madsen, Danny Flaherty, Erin Davie, Chloe Levine, Keith Leonard
written and directed by: Felix Thompson
Wow! This is a film that hit me completely unexpectedly with how good it is. This is an incredible rite-of-passage, derelict teenager film with a great breakout-potential star in Christopher Plummer as the title character, Jack.
Semi-delinquent Jack's endless summer is an unbearable constant of humiliation and romantic rejection, his sullen interior hopelessness manifest in a shabby neighborhood of overgrown yards and the distant sound of rusted rail trains headed anywhere but here. First seen spray-painting an angry expletive on the garage door of the bully hounding him, Jack gets the rest of his aggression out through push-ups and post-workout selfies. The pictures are sent to a popular girl, Karin (Scarlet Lizbeth), who, like everyone else at school, refers to Jack as “Scab,” a nickname that's stuck around since childhood and given to him by his older brother, Tom (Christian Madsen), who's jealous of the royal treatment Jack received from their now absent father. Their single mother, Karen (Erin Davie), is hardly ever around as it is, and so the responsibility of looking after his younger, even more pensive cousin, Ben (Cory Nichols), falls to Jack when his aunt is taken sick.
What the title is referencing, I believe, is the fact that Jack used to be the king in his own world and in his mother's world, but things have since fallen apart and he has lost his crown perhaps through Jack's growing pains, his journey of self-discovery and figuring out his place in the world and on the social ladder. Jack and Ben have a bit of a strained relationship, as Jack doesn't necessarily want to be his cousin's keeper, but their bond quickly becomes something more as they unite in fighting against their common enemy- the school/town bully, Shane, who seems to have a longstanding feud with Jack for reasons that stem from Jack's older brother. And what transpires is a well-crafted cat-and-mouse game between Jack/Ben and Shane/his cronies. The climax of the film has some pretty intense scenes that are cringe-worthy much like the curbstomping scene in "American History X."
This is an incredible (debut) film.
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"Darling"
starring: Lauren Ashley Carter, Sean Young, Brian Morvant, Larry Fessenden, John Speredakos, Al-Nisa Petty, Helen Rogers
written and direct by: Mickey Keating
With "Darling," Mickey Keating offers up another film homage to the subgenre of the "woman goes crazy and descends into madness" of films that was made popular in the 1960s by Polanski and Bergman. I recently watched another film to put itself in the homage cateogry, "Queen of Earth" by Alex Ross Perry which starred Elisabeth Moss who played the woman gone crazy role almost scarily perfect. Here we have a newbie Lauren Ashley Carter who embodies her own version of the same type of character nearly as well.
Darling (Carter) takes a job looking after a house while the owner (Young) is away traveling.
Things start going bump in the night, and we’re not entirely sure that Darling is all there. The film offers elliptical hints as to what evil may or may not be lurking in the house, a four-story set designer’s dream. Is it the history of devil-worshipping, or perhaps the fact that the last caretaker jumped to her death and Darling has flashes of doing the same? And what exactly is behind that locked door at the end of the hallway?
Carter’s performance is the star of the film, but between the sound design and the framing of shots, to the sustained tension of dread, Keating has crafted an intriguing, micro-budget pastiche of those aforementioned films. Are we the sum total of our influences? Absolutely not. Those influences bounce and live and seep into our brain.
Lauren Ashley Carter steals the show, as she must for this type of film to work, but I never expected to be so scared of a woman gone crazy as I was of her. Wow!!
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"The Invitation"
starring: Logan Marshall-Green, Emayatzy Corinealdi, Aiden Lovekemp, Michelle Krusiec, Mike Doyle, Jordi Vilasuso, Jay Larson, Marieh Delfino, Tammy Blanchard, Michiel Huisman, Lindsay Burdge, John Carroll Lynch, Toby Huss, Danielle Camastra
written by: Phil Hay and Matt Manfredi
directed by: Karyn Kusama
I remember watching Logan Marshall-Green play the troubled older brother on The O.C. and thinking he had some potential to be a better actor given the right material and better/less cheesy teenage drama writing to work with. And now that Tom Hardy has emerged as a movie star, he probably gets mistaken for the much better known actor (thankfully in this film he has grown a full beard and grown his hair long, as if he's just graduated from an Ivy League school with the intentions of traveling to find himself.
Still depressed from a tragedy that severed his marriage two years ago, Will (Marshall-Green) brings his new girlfriend Kira (Corinealdi) to the posh L.A. home of his ex-wife Eden (Blanchard) and her new husband David (Huisman). David and Eden have invited a number of their friends, new and old, to a party, in an attempt to end the estrangement that occurred when Eden and Will divorced. Will, returning to his old residence, is continually haunted by past events, and his memories start interfering with the already strained party atmosphere. Add to that the likelihood that David and Eden – with their new friends Sadie (Burdge) and Pruitt (Lynch) – are involved in some sort of cult, and you have a pretty compelling concoction for some seriously unnerving tension.
This is a great mystery/thriller type of film, not just because of the potential cult aspect to the film, something that really breathes "Scientology" in it, but also because you can tell there is something happening deeper below the surface, something will rear its ugly head. The cast works really well together and John Carroll Lynch has really nailed down the creep factor in an almost potentially typecasting way (re: Zodiac, and American Horror Story: Freak Show).
It certainly is a "dinner party from hell" film which seems to fe checking things off a film school list, making sure to make the grade. There are some interesting points made about grief and coping, as well.
.................................................................................
"And While We Were Here"
starring: Kate Bosworth, Claire Bloom, Jamie Blackley, Iddo Goldberg
written and directed by: Kat Coiro
Kat Coiro has turned into quite a promising female writer/director of quirky, strong-female lead character films. She wrote and directed Kate Bosworth in her debut "Life Happens" and then looked to Kate Bosworth again to take the lead in this film, before writing and directing another good indie film "A Case of You" with Evan Rachel Wood. I enjoyed all three of her films as they all brought something new and different to the screen.
Kate Bosworth plays Jane, a troublingly thin and visibly depressed American tourist in Italy, who has traveled there in support of her traveling musician husband, Leonard, who has been hired to play the viola in a small Italian town at concert halls. There are no arguments or tension between the married couple, but there is also something visibly missing from their partnership as well. Love. This film really brings to mind "Lost in Translation" for much of it, as it has quite a similar premise, other than the fact that Jane is looking for passion and love, which she is clearly not getting from her husband. She doesn't want to find simply find a local boy to accompany her and keep her from getting/staying lonely.
Jane is a writer who has long struggled with a project she can’t quite wrap her head around: Through her ever-present headphones, she listens to hours of interviews she conducted with her English grandmother, whose recollections of having lived through two world wars, Jane hopes, will provide the inspiration for a book. As Jane’s grandma, Claire Bloom delivers a vocal performance so deft that her character seems to take palpable form, her words arriving at perfect intervals throughout the film.
Jane is clearly having a psychological conflict, which comes to light at one point and makes things a bit clearer for the viewer. She is looking for an arousal of some kind, one she is not getting from her husband. Instead she finds it in the form of a 19 year old American boy, Caleb (Blackley).
While Caleb never becomes a figure of crucial significance, he does throw Jane’s marital problems into high relief. Leonard exhibits all the signs of being out of love: He doesn’t really listen, and he responds wearily when Jane attempts conversational intimacy. During sex, when Jane asks him, “Is there anything you want?” he responds, “Just you, Jane.” What Jane herself wants isn’t sex, or even love, but spontaneity, which Caleb provides.
This is an interesting film with an equally impressive and intriguing story to tell.
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"Hush"
starring: Kate Siegel, John Gallagher Jr., Michael Trucco, Samantha Sloyan, Emma Graves
written by: Michael Flanagan and Kate Siegel
directed by: Michael Flanagan
Kate Siegel (the wife of the film's writer/director- hmm, nepotism??) plays Maddie Young, a deaf and mute writer who lives alone in a remote, isolated cabin home who becomes the victim of a mysterious man in a mask's terrorizing (although he takes off his mask almost immediately after the initial terrorizing begins). Maddie is not the passive, typical female victim in horror movies, though. Here, she fights back. In fact, that's the premise of the entire film- how can and will this seemingly behind-the-8-ball woman save herself and in turn perhaps kill the man. The man (played by Gallagher Jr.) seems to prefer toying with his victim more than actually killing her, even telling her at one point that he doesn't want to get in the house simply to murder her, he wants to play with her until finally she just wishes and hopes he'll put her out of her misery, only then will be find pleasure in killing her, but not any sooner.
Kate Siegel really carries this film in an astonishing way, especially since the film has approximately only 15 lines of dialogue throughout (all spoken by the secondary characters). We can see the wheels in Maddie's brain turning throughout the film and the action as she figures out ways to outsmart her terrorizer.
This was a decent film.
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"Wrecker"
starring: Anna Hutchison, Andrea Whitburn, Jennifer Koenig, Don Knodel, Michael Dickson, Lori Watt, Kurtis Maguire
written and directed by: Michael Bafaro
I think where Quentin Tarantino's "Death Proof" really succeeded in paying homage to the old-fashioned mysterious driver terrorizing others, Michael Bafaro's film "Wreckers" really failed, solely because it just wasn't entertaining and was filled with more boring and slow-paced action than anything else. Not to mention, his main character here, played by Anna Hutchison just comes off as rather annoying and nothing else.
There's a lot of camera-trickery and splicing/editing going on throughout the film that kind of distracts you throughout as well.
Definitely a film not worth your time or brain-power.
starring: Paul Rudd, Selena Gomez, Craig Roberts, Julia Denton, Jennifer Ehle
written and directed by: Rob Burnett
All right, Netflix is producing shows and movies like they are the Second Coming or perhaps like the end of the world is near, which lends itself to producing really terrible things (re: a six-movie deal with well past his prime Adam Sandler) and then amazing things (re: House of Cards). This film falls under the category of mediocre, thanks to its cast- all of whom put their best efforts in it- and no thanks to the cliche-filled script in a dramedy that often times digs itself into holes it cannot get itself out of.
Attempting to find work and dealing with divorce papers he’s avoided signing for over 2 years, Ben (Paul Rudd) decides to become a certified caregiver. His first job is helping out Trevor (Craig Roberts), a young man with duchenne muscular dystrophy. Trevor lives with his overprotective mother and hasn’t been very far from his house his entire life. Trevor is fascinated with roadside attractions and Ben begins asking him why he doesn’t just go and see them. Trevor claims he doesn’t want to, but suddenly has a change of heart after an argument with Ben. Now the two men are heading out onto the road for one week. Along the way they meet up with an attractive hitchhiker (Selena Gomez) that Trevor becomes infatuated with, and a pregnant woman (Megan Ferguson) trying to get to her mother’s house before her due date.
There's something deeper there going on with Ben, which we get in bizarre slow motion flashbacks. It's clear that something happened to his son and what that is, is so predictable. Ben is dealing with a terrible accident in his past, having difficulty sleeping and simply dealing with the things in his life. Trevor deals with his disability through humor. He’s sarcastic, occasionally rude, and doesn’t mind a few self deprecating jokes here and there. These characters are pretty much the definition of road trip buddies in a film like this.
The chemistry between the characters is what really helps this film. Even though, everything that happens and the third act resolutions are predictable, it's still a worthy, entertaining film with a good message.
.............................................................................
"The Giver"
starring: Jeff Bridges, Meryl Streep, Brenton Thwaites, Alexander Skarsgard, Katie Holmes, Odeya Rush, Cameron Monaghan, Taylor Swift, Emma Tremblay
written by: Michael Mitnick and Robert B. Weide
directed by: Phillip Noyce
The Giver was one of my favorite books in middle school, although, to be honest, I'm not sure I fully understood it and its heavy themes back then. I've read it several times since middle school, and now that I understand it, I have to say, I think it was one of the first teenage dystopian stories, perhaps a bit ahead of its time and really fits well within this decade thanks to "The Hunger Games." It's too bad it took Jeff Bridges this long to have the film made, because it certainly falls flat(er) than its more pressing predecessor.
"The Giver’s" dystopic society is a manmade invention born of good intentions. Following the unexplained Ruin, humanity has reorganized itself into colorless Communities, where contentment is achieved by means of a bland but aesthetically pleasing conformity and daily injections of an emotion squelcher. All memory of the past has been erased, save for one soul chosen by the all-seeing Council of Elders to be the Giver. As the movie opens, Jonas (Thwaites) has been selected to be the new Receiver of memories. Although the Community (which is what its residents call the place where they live) has no knowledge of civilization’s accomplishments and history, they also have no knowledge of hatred, war, and conflict.
Filmed mostly in black and white, for a reason, as Jonas is given the memories, colors start to appear in his world, much like the film "Pleasantville."
With a decent first half, the film starts to lose itself and its traction as things pick up steam and that's where it loses the viewer, inside of exciting like in The Hunger Games, the action loses you before the climax. I feel like everyone has read the book, so everyone knows how it ends and its the filmmaker's job to make sure you want to watch all the way to the end.
.......................................................................
"King Jack"
starring: Charlie Plummer, Cory Nichols, Christian Madsen, Danny Flaherty, Erin Davie, Chloe Levine, Keith Leonard
written and directed by: Felix Thompson
Wow! This is a film that hit me completely unexpectedly with how good it is. This is an incredible rite-of-passage, derelict teenager film with a great breakout-potential star in Christopher Plummer as the title character, Jack.
Semi-delinquent Jack's endless summer is an unbearable constant of humiliation and romantic rejection, his sullen interior hopelessness manifest in a shabby neighborhood of overgrown yards and the distant sound of rusted rail trains headed anywhere but here. First seen spray-painting an angry expletive on the garage door of the bully hounding him, Jack gets the rest of his aggression out through push-ups and post-workout selfies. The pictures are sent to a popular girl, Karin (Scarlet Lizbeth), who, like everyone else at school, refers to Jack as “Scab,” a nickname that's stuck around since childhood and given to him by his older brother, Tom (Christian Madsen), who's jealous of the royal treatment Jack received from their now absent father. Their single mother, Karen (Erin Davie), is hardly ever around as it is, and so the responsibility of looking after his younger, even more pensive cousin, Ben (Cory Nichols), falls to Jack when his aunt is taken sick.
This is an incredible (debut) film.
...............................................................................
"Darling"
starring: Lauren Ashley Carter, Sean Young, Brian Morvant, Larry Fessenden, John Speredakos, Al-Nisa Petty, Helen Rogers
written and direct by: Mickey Keating
With "Darling," Mickey Keating offers up another film homage to the subgenre of the "woman goes crazy and descends into madness" of films that was made popular in the 1960s by Polanski and Bergman. I recently watched another film to put itself in the homage cateogry, "Queen of Earth" by Alex Ross Perry which starred Elisabeth Moss who played the woman gone crazy role almost scarily perfect. Here we have a newbie Lauren Ashley Carter who embodies her own version of the same type of character nearly as well.
Darling (Carter) takes a job looking after a house while the owner (Young) is away traveling.
Things start going bump in the night, and we’re not entirely sure that Darling is all there. The film offers elliptical hints as to what evil may or may not be lurking in the house, a four-story set designer’s dream. Is it the history of devil-worshipping, or perhaps the fact that the last caretaker jumped to her death and Darling has flashes of doing the same? And what exactly is behind that locked door at the end of the hallway?
Carter’s performance is the star of the film, but between the sound design and the framing of shots, to the sustained tension of dread, Keating has crafted an intriguing, micro-budget pastiche of those aforementioned films. Are we the sum total of our influences? Absolutely not. Those influences bounce and live and seep into our brain.
Lauren Ashley Carter steals the show, as she must for this type of film to work, but I never expected to be so scared of a woman gone crazy as I was of her. Wow!!
..................................................................................
"The Invitation"
starring: Logan Marshall-Green, Emayatzy Corinealdi, Aiden Lovekemp, Michelle Krusiec, Mike Doyle, Jordi Vilasuso, Jay Larson, Marieh Delfino, Tammy Blanchard, Michiel Huisman, Lindsay Burdge, John Carroll Lynch, Toby Huss, Danielle Camastra
written by: Phil Hay and Matt Manfredi
directed by: Karyn Kusama
I remember watching Logan Marshall-Green play the troubled older brother on The O.C. and thinking he had some potential to be a better actor given the right material and better/less cheesy teenage drama writing to work with. And now that Tom Hardy has emerged as a movie star, he probably gets mistaken for the much better known actor (thankfully in this film he has grown a full beard and grown his hair long, as if he's just graduated from an Ivy League school with the intentions of traveling to find himself.
Still depressed from a tragedy that severed his marriage two years ago, Will (Marshall-Green) brings his new girlfriend Kira (Corinealdi) to the posh L.A. home of his ex-wife Eden (Blanchard) and her new husband David (Huisman). David and Eden have invited a number of their friends, new and old, to a party, in an attempt to end the estrangement that occurred when Eden and Will divorced. Will, returning to his old residence, is continually haunted by past events, and his memories start interfering with the already strained party atmosphere. Add to that the likelihood that David and Eden – with their new friends Sadie (Burdge) and Pruitt (Lynch) – are involved in some sort of cult, and you have a pretty compelling concoction for some seriously unnerving tension.
This is a great mystery/thriller type of film, not just because of the potential cult aspect to the film, something that really breathes "Scientology" in it, but also because you can tell there is something happening deeper below the surface, something will rear its ugly head. The cast works really well together and John Carroll Lynch has really nailed down the creep factor in an almost potentially typecasting way (re: Zodiac, and American Horror Story: Freak Show).
It certainly is a "dinner party from hell" film which seems to fe checking things off a film school list, making sure to make the grade. There are some interesting points made about grief and coping, as well.
.................................................................................
"And While We Were Here"
starring: Kate Bosworth, Claire Bloom, Jamie Blackley, Iddo Goldberg
written and directed by: Kat Coiro
Kat Coiro has turned into quite a promising female writer/director of quirky, strong-female lead character films. She wrote and directed Kate Bosworth in her debut "Life Happens" and then looked to Kate Bosworth again to take the lead in this film, before writing and directing another good indie film "A Case of You" with Evan Rachel Wood. I enjoyed all three of her films as they all brought something new and different to the screen.
Kate Bosworth plays Jane, a troublingly thin and visibly depressed American tourist in Italy, who has traveled there in support of her traveling musician husband, Leonard, who has been hired to play the viola in a small Italian town at concert halls. There are no arguments or tension between the married couple, but there is also something visibly missing from their partnership as well. Love. This film really brings to mind "Lost in Translation" for much of it, as it has quite a similar premise, other than the fact that Jane is looking for passion and love, which she is clearly not getting from her husband. She doesn't want to find simply find a local boy to accompany her and keep her from getting/staying lonely.
Jane is a writer who has long struggled with a project she can’t quite wrap her head around: Through her ever-present headphones, she listens to hours of interviews she conducted with her English grandmother, whose recollections of having lived through two world wars, Jane hopes, will provide the inspiration for a book. As Jane’s grandma, Claire Bloom delivers a vocal performance so deft that her character seems to take palpable form, her words arriving at perfect intervals throughout the film.
Jane is clearly having a psychological conflict, which comes to light at one point and makes things a bit clearer for the viewer. She is looking for an arousal of some kind, one she is not getting from her husband. Instead she finds it in the form of a 19 year old American boy, Caleb (Blackley).
While Caleb never becomes a figure of crucial significance, he does throw Jane’s marital problems into high relief. Leonard exhibits all the signs of being out of love: He doesn’t really listen, and he responds wearily when Jane attempts conversational intimacy. During sex, when Jane asks him, “Is there anything you want?” he responds, “Just you, Jane.” What Jane herself wants isn’t sex, or even love, but spontaneity, which Caleb provides.
This is an interesting film with an equally impressive and intriguing story to tell.
.....................................................................................
"Hush"
starring: Kate Siegel, John Gallagher Jr., Michael Trucco, Samantha Sloyan, Emma Graves
written by: Michael Flanagan and Kate Siegel
directed by: Michael Flanagan
Kate Siegel (the wife of the film's writer/director- hmm, nepotism??) plays Maddie Young, a deaf and mute writer who lives alone in a remote, isolated cabin home who becomes the victim of a mysterious man in a mask's terrorizing (although he takes off his mask almost immediately after the initial terrorizing begins). Maddie is not the passive, typical female victim in horror movies, though. Here, she fights back. In fact, that's the premise of the entire film- how can and will this seemingly behind-the-8-ball woman save herself and in turn perhaps kill the man. The man (played by Gallagher Jr.) seems to prefer toying with his victim more than actually killing her, even telling her at one point that he doesn't want to get in the house simply to murder her, he wants to play with her until finally she just wishes and hopes he'll put her out of her misery, only then will be find pleasure in killing her, but not any sooner.
Kate Siegel really carries this film in an astonishing way, especially since the film has approximately only 15 lines of dialogue throughout (all spoken by the secondary characters). We can see the wheels in Maddie's brain turning throughout the film and the action as she figures out ways to outsmart her terrorizer.
This was a decent film.
........................................................................................
"Wrecker"
starring: Anna Hutchison, Andrea Whitburn, Jennifer Koenig, Don Knodel, Michael Dickson, Lori Watt, Kurtis Maguire
written and directed by: Michael Bafaro
I think where Quentin Tarantino's "Death Proof" really succeeded in paying homage to the old-fashioned mysterious driver terrorizing others, Michael Bafaro's film "Wreckers" really failed, solely because it just wasn't entertaining and was filled with more boring and slow-paced action than anything else. Not to mention, his main character here, played by Anna Hutchison just comes off as rather annoying and nothing else.
There's a lot of camera-trickery and splicing/editing going on throughout the film that kind of distracts you throughout as well.
Definitely a film not worth your time or brain-power.
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