jazzstyle Reviews

Engaged to Kill (2006 TV Movie)

Worth a bit of time to watch

[7/10 · 25 November 2023]

The reviews for this film are interesting, jump around a bit, and, I think are accurate. After all, each viewer is going to have a different experience. Some say there isn't tension, others say it's full of suspense. Twists or predictible, pick a side. Whether this plot has been done in many B movies as one reviewer wrote, I can't say. What I can say is that, in writing, a popular teaching is that there are only seven stories. The job of the writer is find a new way to make those same stories fresh and interesting, over and over and over. So, for me, I agree with the others who found the film worth a bit of time to watch. It isn't a standout, but it is produced well, has solid acting, and it held my attention. Even though I noticed the acting, which normally isn't a good thing, I think it was in this instance, thanks to Maria del Mar, Dominic Zamprogna, Katharine Isabelle, Bryce Hodgson, and Daniella Evangelista. Each brought the right level of believablility to his/her character that it kept me engaged, especially in the scenes with high stress and conflict. Had they not, I believe the film would have been flat, with acceptable acting for the all roles, but nothing to add character and interest to those roles. It may be a quirk of mine; I want some individuality and uniqueness in every character I see on screen, no matter how small the role, or the quirk. Unfortunately, for me, Joe Lando didn't make me believe he was feeling what the script said he should. That is not to say he was bad; he was not. I have not seen him in other roles to see a range of his work. I speak only to this one performance. In this film, he did not move me to feel for him. On the production side, there were some high points for me. I liked the use of light and shadow choices. I liked that some of the "suspense" moments were slow, deliberate, and clearly in focus, and some were quick, shadowy glimpses. I liked the flipping back and forth between light and dark cuts. I noticed the use of slices of light which I liked. I thought the chase scene and escape were shot very well. I liked the film's pace, that there wasn't any unnecessary footage, that it kept moving forward. I liked that the underscoring was so spot on and appropriate that I didn't even notice it. That's saying a lot for me. There were choices on how the attacks occur that were, to me, bold and surprising. I didn't mind that the story was a well-used one, or that I figured out right off what was happening and who the baddie is. I got involved with the people, the sudden upset in their lives, and the mechanisms through which they have to go to resolve the threats. If nothing else, this film is a good example of how plot and theme are two different things. There were enough twists and interesting choices for me to enjoy and follow the plot, and enough good acting for me to become engaged and invested in these people and their troubles.

The Whole Wide World (1996)

Profound and worth more than one viewing

[10/10 · 10 October 2023]

I wish I could give this film more than a ten. I took a chance on it to watch Vincent D'Onofrio, of whom I'm a huge fan, and Renee Zellweger, based on her highly respected reputation, nominations, and awards. I had not seen her work before. I knew Ann Wedgeworth's outstanding quality from seeing her performances years ago. Based on the talent, I didn't read the plot or do any research on the film, as I normally do before viewing. I took a risk, went in blind, and won, big time. There is nothing to critique about this film. Every production element is spot on at the highest level, superbly directed, and every performance by every actor is a gem. The uncountable-carats goes to D'Onofrio. When he is present, I feel commanded to watch every move, hear every word, absorb each significant nuance. He is a master class in acting with every cell of your being. His Robert Howard bursts, flashes, and explodes the enigmatic qualities of a complex creative soul. He entwined Bob's enigmatic eccentricies with his relatistic and responsible sensibilities flawlessly. Plus, I did not get the sense, as I have with other outstanding actors, that, in two or more person scenes, that he was acting alone. In those scenes, he was part of the ensemble. I found the screen play profound, and can't imagine not writing about such an incredible relationship. Thank you Novalyne Price Ellis and Michael Scott Myers for giving me oceans of meaningful themes to engage and ponder. As a writer myself, I was surprised and pleased that writing was one of those. I seldom will watch a film more than once. This one I could probably watch multiple more times and still find chips of insight, wisdom, commentary, complexities that I missed on earlier viewing(s). In essence, for me, this wasn't a story. It was an experience.

Like Dandelion Dust (2009)

Richly layered

[9/10 · 29 September 2023]

On the technical side, I liked and noticed various lighting and camera choices, in particular, several montages of very close and interestingly cropped close ups. Understated underscoring is a big plus for me. Excellent production values over all, and great acting, although, sometimes choices didn't work for me. Rip didn't get emotional enough for me when first told about a major choice Wendy made while he was in jail. I wanted an inner explosion, conflict, disbelief, something. I was left wanting. Even though his behavior is explained later, I didn't buy anyone could be as calm as he was with no inner struggle to keep himself in check.

The film's storyline addresses a heartbreaking scenario and asks us to consider where the better good is served, when legalities undermine what might be the better course of action. Under that is a wealth of sub-themes and subtle commentary on the various relationships. Juxtapose that with the uber-rich versus blue-collar, young, starting-out family and there's more fodder for thought. It's an often used spine to the story, as are Rip's problems, and both lend toward the predictability of the characters' choices. In this world, these people, their problems, and their reactions scream honest and true. Halfway through the film, it hit me that I was missing something that I think I would feel were I Rip. The "I found God in prison", another often used theme, wasn't enough for me to lose the sense that Rip should have had some feelings toward Wendy that might never go away, yet he doesn't seem to have them at all. I wasn't totally buying that. Then, I felt a gap with the shower phobia. Rich dad has a big boat, Joey's been on the ocean and plays in the waves on the beach. The phobia didn't make sense to me. It's just there. I understand why it's there, but I think the shower scenario was too unique and not tied into anything we knew about Joey. Another juxtaposition that works really well are the tender moments and the violent ones. Being a quiet film, I liked the filming and editing choices made for the aggressive scenes. They carry the weight necessary, without breaching the tonal mood of the film. The strength of this film is the believability of the characters and the honesty of each of the plot lines, showing both the good and bad sides. Conflicts in relationships, strengths and weaknesses, unveil as the film unwinds. It is richly layered, giving all these quality actors screen time. Beliefs are tested in the theme of having to let go, from both the religious and legal perspectives. To me, the ending was a given from the beginning, so it was the journey that had to hold my attention. It did. Layer by layer, peeling away the unnecessary to get to the heart and core of what truly has meaning.

Kettle of Fish (2006)

Less is so much more.

[9/10 · 10 September 2023]

I like quirky, honest, and I love jazz. Claudia Myers's story is just different enough to pique my interest, and the honesty that is written into her characters, to me, is very refreshing. There is a friend who speaks the truths others won't, a man who doesn't listen, a woman who has to see an example of what she doesn't believe can happen before she's willing to follow her feelings, the "not the jock" side man hoping for more than he's going to get, a jazz loving fish, and a frog named Casanova. The fish and frog are integral to the story, and to the message of the film. Brilliant writing. Using precise word choices and dialogue, the truths of the characters shine though. On the directorial side, Ms. Myers has gone for reality. It's quiet, mundane in the most respectful and complimentary sense; it's how humans interact. These people just are and do. Yet, the concepts of life they are exploring are deeply important and often, as the film depicts, confusing and stifling. The biggest plus for me was the score. I'm a huge jazz fan; what a gift to have jazz play an important role in a storyline. And soooo tasty. Thank you, Jay Mason, Greg Eichen, Garry Gibbons, David Tobocman, and especially Ryan Shore for the ever so sweet sax. It's the perfect wave for the rolling highs and lows these characters are navigating, that we all navigate. About that honesty. These people are we. If you don't see yourself in this film, you're missing something. Don't let the quietness fool you; there's a lot going on here. Here, less is so much more.

No Way Home (1996)

True to the mood

[8/10 · 11 June 2023]

This is my first experience with a Giovinazzo film, and with all the actors, so it's totally fresh eyes. I liked the film. I knew from early on, when the brother is introduced, where the story was going to go. It would have been thrilling had I been wrong, but I wasn't. That didn't diminish the film in any way. All the production qualities were excellent, which left me only watching three actors really inform their characters. Consistency of mood I would call it. Even when there are brief happy moments, the smile or laugh is expressed, but the hard truth underneath is still apparent. There are a lot of references to Tim Roth's Joey being slow, which I don't quite buy. He carries on cohesive conversations, has logic, understands consequences, and makes decent decisions. He isn't bumbling through life. There's only one line I recall about him being very smart before, which is valid to support a change in mental capacity, but I would rather have had them refer to his malleability more that mental capacity since I did not see him as "slow". Having said that, I did accept the story line that his peers in their youth and older, rowdy, unthinking selves would call Joey that. The one thing I appreciated most about this film was the total lack of over-reacting that so often happens when there is violence. Violence and fear are part of these people's lives, so, when it happens, it's just part of that particular day. Brilliant restraint. Even at the end, there is what I might call the "look" that could have occurred between the brothers, and, thankfully, didn't. To the end, the film stayed true to it's mood and truths. That's what I think kept me engrossed in it.

Down Periscope (1996)

Expertly crafted

[9/10 · 14 May 2023]

What a fun film. What I like most is that the comedy comes from character, people being themselves. To a man, the crew are exceptionally creative and interesting characters, thrown into a sink, literally, or swim, not possible, situation. Congratulations to everyone for letting the comedy just be, not try to force it. I had not seen Kelsey Grammer in anything before. I bought every second of his laid-back but absolutely sure of himself Captain. He deftly led us through the script as deftly as the screen writer planned when the importance of each little piece of what we've been shown would be revealed. Like a kaleidoscope, the story goes round and round, and each little bit softly falls into place. Being a huge military fan, I loved the ocean, sea, and sky shots. Another big plus for me is that I've never watched any other film that is so warm and funny and yet puts me on the edge of my seat. Tension, adventure, humor, ethics, relationships, intelligence, envy, unwarranted pettiness, and more are all bundled up together and work flawlessly. We watch men flounder to learn new skills, adapt to new obstacles, discover respect, then put themselves on the line for each other when the stakes get high. All the characters have a clear arc. To me, it's an A-plus example of story idea to screenplay to the screen with excellent casting, acting, direction, and production. By everyone involved. From start to finish, no pesky irregularity jumped out at me, and I was totally on board with the very believable special effects and stunts. I'm still a bit surprised that I was into the strategy, humanity, and suspense that I didn't automatically notice the elements of how the film was made as much as I normally do. Once, I was aware of green screen; that was it. Every other technique used to show us what we needed to see was flawless. That says a lot to me about how good this film is. And, if you read all the credits, you'll see how many talents it took to pull it off so successfully.

The Good Student (2006)

Subtle, deft, charming

[10/10 · 5 May 2023]

It seems I like independent films. Here I am, again, writing a review because I liked this film so much. Loved the amplified sounds of the creaking, older car door, winding down the window, and the rest. Like the moments that fill in backstory and character choices. Like the quick misdirections, and the fact that there's a clear juxtaposition between characters uncomfortable because they know they're treading in dangerous territory, and those that accept their forbidden activities as a natural course of events. Inventive way to start a kidnapping, and was that a big clue just put over her head? Liked the director's choices in blocking, how the camera was often, if not mostly, slightly off center. There were angles, triangles, diagonals, lighting choices that made every shot interesting, to me. For those who have expressed disappointment with the acting, I respectfully disagree. This is a small story about real people. I think every single actor was spot on, and, again, the choices made by either the director or the actors. There are quiet moments that speak volumes. I especially like that we can figure out who the kidnapper is, and we're not dragged through all kinds of red herrings just to fill frames. All the suspects are shown to us, then it's up to us to pay attention. All the clues are there, all the reactions, nuances. You just have to be engaged and follow where this deft little film takes you. It's charming, and that's a word I seldom use in a positive sense. But, in this case, it is very positive. It lures you, leads you, holds you, then let's you go with a very satisfactory ending. Loved it.

Chaos (II) (2005)

Brilliant, subtle

[9/10 · 27 April 2023]

The ratings for this film seem to fall into really good or really bad, with fewer scattered mid-range. The film looks good, sounds good, named actors doing what they do, decent action, has twists, some say a surprise ending, it's worth a watch. I'm going much deeper than that. To me, the script and direction are brilliant, both by Tony Giglio. Maybe because I am familiar with Chaos Theory, I was prepared to watch for it. It's subtle, and Giglio, if I'm correct, has used the camera to tell us exactly when chaos kicks in. Thankfully, Statham successfully finds the necessary emotion to make what I think Giglio wants to work, work. It worked for me. Watch for long takes on Statham after certain events or lines.

Another aspect I think is brilliant is some of the dialogue. Lines said by one character can be a truth for another character, or a truth for a character who isn't who you think he/she is. Then there are the "drop in" lines that happen once, out of context. That is, until something happens after that line that explains it; then it speaks volumes. Brilliant.

Then there's the spine of the story. As a writer, I may be more aware of the inciting event, what makes everything start. Generally, that is early on in the story, then the events follow. In this film, we're dropped into a situation that is not the beginning of the story being told, then led through layer after layer until we reach the core, the inciting event, and the motive for why the characters are taking the actions they are. There are foreshadowings that tell us what the inciting event is, which help if we're trying to figure out the plot for ourselves. Can one figure out who the real baddie is early on? Yes. But, for those reviewers who mentioned the plot as being predictable or not creative, I challenge them to watch the film again with a keener eye to try to determine which people are actually involved in the main story line and what their roles are. I still have a few questions as to whether a couple of the characters helped the bad guy(s).

This script requires total attention, or you miss the heart of the story, which is what I think has happened with a lot of casual viewers who seem only to mention the overlying story which leads to the investigation. To avoid spoilers, I am not going to spell out what the movie is really addressing; the film does it throughout if you really pay attention. If you do watch it to the end, a character tells you what the film wants to say. The route to that point is a complicated, subtly designed script, rife with questions about who the characters really are, their relationships, their history, who's working with whom, misdirection, obstacles, dialogue said by one character conveying information or a truth another should be saying, and questions as to who are criminals. All spiced with good direction and some story-integral camera shot choices.

Unwrap the layers, and you have a beautifully crafted Chaos (II).

Take Me Home (2011)

Reality works

[9/10 · 21 March 2023]

I am a huge fan of intelligent, non-formulaic scripts and stories with twists. Take Me Home met both of these criteria beautifully. No excess dialogue; intelligent responses in dialogue that weren't the expected that moved the scene along seamlessly; excellent use of using the camera to show us what's not being said; choices of character traits real and kinky enough that we can identify and have fun with those characters; subtle signs of relationships; a wonderful stream of quiet surprises to fill in backstories. I didn't expect most of the twists, each one delightful, to me. The scenery filmed was necessary, no long scene with no point other than to cover for a song; just enough music to give us the mood of this mobile story. I especially appreciated the frame choice at the end, so hat's off to that directorial choice. I liked the pace and tone of the film as well. In interior design, when a room works, people don't want to leave it; they feel comfortable, at ease. That's how I felt with this film. Like life, there were problems, choices, consequences, surprises, separations, and reconnections. No surprise it won audience awards.

I didn't award it a ten because there were a few times when tech was a bit obvious to me. Because of that, I was jolted out of being totally with the film for those few seconds when I first noticed what I saw as a very slight glitch. I have an analytical brain that automatically sees the details, so I doubt the mainstream audience, without hyper-analytic gray cells, would even notice. Besides, none of us is perfect. It's a film well worth watching.

Doe (2018)

Less is so much more

[10/10 · 18 February 2023]

As a writer myself, my first hat's off are to Landon Reagan, for having the idea for the story, then Justin and Timothy Foia for so craftily putting it on the pages. From then on, it's everyone, director to prop master, to the guys who set up gear and clean up after craft services. In music, we can feel when we all come together; what we call a tight set or being in the pocket. It's magic when it all falls together. That's what I felt in this film; every second of every frame was absolutely necessary. I didn't find one moment when I thought a judicious bit of editing could have helped. Add an interesting story, stellar acting, excellent production values, and a script that asks more questions than it tells us, and I'm in for the ride. Finally, there's the underlying theme of the film, which I think is really worth considering. It's in the script. Do you really want to know? Once the clapper hits that bell frame, you can't unring it. It's a question worth exploring, and I think it was addressed and answered in an intelligent and meaningful way in this film.

Found Wandering Lost (2022)

Superbly crafted

[10/10 · 22 January 2023]

As others have said, huge congratulations for producing a quality film on a small budget. Like the dialogue a lot, intelligence behind it, nuances where the less said shows more meaning. Like the cinemaphotography. Sound, really good. Thank you actors for no mumbling, slurring, or swallowing the last halves of your sentences. Great foreshadowing, both action and theme lines, in the first meeting at the indoor sky diving, then the repeat of the physical move later. Loved the tie in with a nickname which jumped out at me like a flea-bit scorpion when it was first said. Great ending. Some reviewers mentioned the slower pace, which I think is appropriate for the theme of this film. These are only a few of the quality details I spotted; I could probably find more on subsequent viewings.

At the very beginning, if you're paying attention, you can guess immediately it's going to be Ben's story, and what it is. A bit later into the film, Ben's story unfolds, and the opening is confirmed. Now I understand what I should feel about him and why. I can connect with Ben. That isn't the case with another main character, Trent. Some may think he's a protagonist; he is not. To me, Trent is a symbol, a McGuffin in a sense, that ultimately leads to the expected ending we so want, and get. We don't have to know anything about Trent, the mysterious "it", another McGuffin, he may have or why the baddies want "it" so much. For me, Trent is a well written deceit. If you know your theatre and literature, and watch this film with attention to detail, you'll see how all the elements end with each of the characters having a reasonable ending based on their own character traits and actions, with a small circumstance of Fate thrown in because, after all, Fate is often a role in drama. I, too, as others have said, will keep watch for more from Nicholas James and James Thomas. I love good scripts, and, to me, this one is superbly crafted.

Inclusion Criteria (2018)

Interesting for odd reasons

[7/10 · 11 December 2022]

First, congratulations to every company that manages to get a low budget script filmed. This one I think is worth having been made, if only for some of the outstanding acting and intriguing writing. Oblique, might be a better adjective to use, since I'm pretty sure the writer, director, and actors know why everything happens. I'm not sure I do, and that's not a bad thing. I have questions, which would raise discussion had I been with others while watching the film. That's a good thing. It seemed to me Det. Kelley was part of the situation. Yet, he could just step away, but Det. Rawlings can't? Surely there's a much larger motivation in play for Dr. Brinkman, other than a follow up published study. Those aren't all. I loved the set-up then thwart twists. Pull that rug out from under our heroes' feet. As for being on solid ground, give the DP, or director if that's the case, a high-five for some of the really interesting camera angles, and the actors for finding their spots when those angles were tight. I especially liked one characters face (I knew who it was immediately) being framed in the wood trim of the front door. Great synergy between visual and character. Sets and design are minimal, and work. There are a couple of stellar character portrayals, others good, one that jumps out for the wrong reasons. It isn't awful. It just pops out because everyone else is on a more believable level. I'd recommend this film, if only for the ambiguity of it. It has holes, isn't neatly tied up with a bow. At least, not for me. Some, I'm sure, believe they "get it". But with an inventive script and room to question, "What about...?" A great catalyst to start a conversation. Starting at the beginning, why is a bag of cash dropped and found by a woman being watched the inciting event? It was intriguing enough for me to keep with it. I'm glad I did. I really appreciated the performances and slyly crafted script.

100 Days to Live (2019)

Compact, tight, compelling

[10/10 · 5 December 2022]

Approaching a familiar subject and attempting to put a new spin on it is often a daunting task. To me, Ravin Gandhi has exceeded the challenge. Not only does this film address an often highly emotional and controversial subject, it does so without taking a position on the issue. A superb balancing act. I am thrilled when I find a script so well constructed, hence my title of "Compact, tight, compelling". Every line in every scene is necessary to move the script in the intended direction. Concise, no excess chatter. The twists are original, to me, and I applaud the fact that there are multiple twists versus one major twist at the end only. I like as well what I will describe as the deliberate pace of the film. Like the script, this film unfolds to show us the layers, rather than having dramatic ups and downs, fasts and slows. I had no sense that the film was dragging; all of a sudden, there's the ending. I had not noticed time, other than that in the film. From a production standpoint, I saw nothing that drew my involvement out of the film. Good acting, subtle, real, no overboard emotions, from well cast actors makes believable characters. Give them totally believable sets, costumes, lighting, and some interesting camera angles to underscore mood, and it's a very competent crew creating a high quality film. If there is scene music, I didn't notice it, which is another huge plus for me. I prefer no underscoring for scenes with dialogue. From a legal standpoint, I think the film raises an interesting question. I thought it might follow the direction I was thinking, but it didn't. As I write this review, I can see that doing so would have mucked up the otherwise cleverly crafted script which reinforces my original and sustaining admiration for the writing of this film. Love the surprises. An excellent new take on a well known theme.

Dead Draw (I) (2016)

A study in writing

[9/10 · 28 November 2022]

To me, this is a well produced play with good lighting, cinema photography, sets, costume, interesting camera angles, all kinds of things that kept me visually engaged and directed the kind of mood to feel. It felt very real. Acting top notch, real people reacting and talking to other real people. One reviewer too exception, said the music is appalling, that one wanted to get away from it. I think it was perfect, because I never noticed it. Not once. I was watching life, in real time, and life does not, thankfully, have underscoring. There are several critical comments about the flashbacks. I found that interesting, because this film isn't about a bank heist. The bank heist is only the story line. The premise of the film, what the film shows us, is the characters, their inner struggles, their choices, and their relationships to each other and to life. This is a character driven script, to me, and I appreciate it. A lot. I especially like the sparsity of dialogue. We're allowed to be part of the conversations, to figure out what the character meant, rather than being fed what he/she means to say. What isn't said aloud is often much more meaningful than what is colored by our editing gray cells. It was not a surprise to me who the rat was, but it could be to others. I think it's something I can just do. I got "Sixth Sense" at the end of the first scene. Agatha Christie always tells us outright who did it early on in her mysteries. Even so, it's enjoyable to keep reading or watching to see what other little gems the writer has for us. If you pay attention, really tune into these characters, there's a lot of good writing here. As well as the aforementioned production qualities. A winner to me.

Open Grave (2013)

Enough to keep you entertained

[9/10 · 23 October 2022]

There were a lot of elements that kept me in this film. While everyone involved in crafting this well made film did a great job, I tip my hats to the director for some of his framing and pacing choices; lighting for some wonderful effects using natural settings, locations, and sets; the DP for the occasional almost a still against blurred woods HD shots that made me stop and notice, and other creative choices; the score composer, whose music, to me, has class and elevated the moods; make up for the injuries that, even in close up, looked real to me; the actors, every one, from the leads to the enraged. It isn't easy to convince me that the panic, pain, whatever gravity is besetting you is real, and they all did, without overdoing. Special hats off to who everyone who helped create the closing scene. We are not in an era where hoards of warriors are needed on the crest of the hills often, so to pull off that final pan in a non-blockbuster, star name backed project is remarkable. So, I'll do that. Those final frames were Hearclean. (I prefer that to Hercluean.) A few reviewers mentioned that the plot may be readily assumed, and, I agree, also with other reviewers that, that's not always a bad thing. As a writer myself, I recognize the challenge is to take a plot, and make it new and interesting in some way. It's been discussed that there are only seven plots that exist. If that is true, we''re going to get a lot of plots quickly. I don't stop reading Agatha Christie because she tells me very early on who "done it". To me, this film is a let it take you away, enjoy the craftmanship, allow it to wash over you and make you forget while you experience this other world, not so distant from, or maybe even part of, our world. I might have given it a ten had I not noticed in one scene some one in a white shirt or tee crossing between trees far behind the leads running from the baddies in the woods. At that point, no baddies had on white. Oops. There was another time, another odd someone crossing farther back in the woods than the leads, but, that time, the someone was in dark clothes, so it might have been one of the men in uniform? I think it was too early for that, but, since the color worked, I gave that one a pass. The craft these people put together to create a visually entertaining film is worth watching, to me.

Cavedweller (2004)

Stands out on it's own

[10/10 · 12 October 2022]

I have not experienced Dorothy Allison's story telling in book form, so I came to this film with a blank canvas. First, I chose it because of the actors; I anticipated I would get quality performances. I was not disappointed, and that doesn't just apply to the leads. The ten rating goes to everyone listed as part of this film. I totally forgot it was a film, didn't notice camera shots, lighting, set decor, and other elements that normally jump out at me. I had simply watched these people in a short series of events in their lives as if I were in an out of body experience. Not one person, not even the extras' reaction shots, came off as not real to me. The production elements were so integrally blended in, I didn't notice them. Even when I praise camera shots, set design, or lighting, I'm partly thinking I shouldn't be noticing those things. I should be too involved in what the director has decided is important in the moment. That's what happened for me with this film. I hand it to the actors, every single one of them, and the production staff, and, without saying, both Dorothy Allison for her original source, and Anne Meredith for extracting a slice of life with so much to say. To me, the film says a lot, by showing rather than telling. The benchmark of good writing, and great films. I''m very happy to have been engrossed by this gem.

The Tell-Tale Heart (1960)

Inspired by rather than based on

[7/10 · 4 August 2022]

I confess. I'm a literature nerd. I take issue when a film veers so much from the original work, as is the case with this film. While I love the period look, all the wonderful trappings, even those are totally opposite of what Poe wrote. His story focuses on the sparse, the essentials only. I did watch the film all the way through, to see how the climax was handled.

The copy of the film I watched was plagued with dialogue out of sync for the first half or more of the film. This really surprised me since the Danzigers, in 1949, started out by operating a sound studio in New York that specialised in the dubbing of foreign films for US release.

I like the black and white. It felt to me more like an early 1930's film, or even a silent film, without dialogue shown on screen. In the first half, no dialogue with the action, I kind of enjoyed "fill in the blanks". I had to watch, no multi-tasking while the film is playing. It was simple to follow the story from some good takes by the actors, and an appropriate shooting sequence by the director. Another reviewer mentions interesting camera angles. Ditto. For a quickly shot, low budget film, it looks pretty darn good.

I thought the early instances of Marsh hearing things, then various items being jostled was too much, but I did like the chess reference. That would have meant more to me had it been the only physical manifestation shown. I thought the heart looked better than average and had a, thankfully, subtle effect. Worked for me.

I did not find the film at all suspenseful or scary. I agree with another reviewer that trying to stretch Poe's very short story into a full length film is not a good idea. Hence, the new story line altogether. While I'd rather a totally unrelated, common story line not be used to stretch the concept and heart of Poe's story (Yes, I see what I did.), I read that the Danzigers' studio was in the business of movie making rather than the making of professor-proof adaptations of classics. Many of the Danzigers' films were thriller, horror focused, so using a Poe theme is not a stretch.

I appreciate that historical films such as this are being watched and preserved. Were I to watch it again, I'd simply shut off all the sound. I think it works best that way. There's a lot of eye candy in this film in sets, props, costumes, hair, lighting, and decent acting to figure out what's happening. It does what a film is supposed to do; it shows the story. Maybe that was the Danzigers' forte?

Broken Ghost (2017)

Interesting, engrossing, realistic

[10/10 · 22 July 2022]

Hats off to Abe Pogos and Catherine Hill for the screenplay and story. I liked the slower unfolding and revelation of the essential elements. Plus, I like that we have to wait for some answers, like in real life. The film, to me, has an easy feel and beat to it, like a heart. Regular most of the time, some blips and surprises. Early on, we learn one of the characters is different. Interesting. Already I'm hooked and invested. The level of intensity in performances was equal and solid across the entire cast, and seamlessly natural. Thank you, Richard Gray and anyone else who was part of casting. Finally, a fantastic job by Melissa Ferreira, and her assistant Yvonne Reddy on hair and make up. Even in the close ups later in the film, every detail looked right. All in all, a quiet, interesting, story that touches on some current issues but isn't about them. This is a film about people, produced and acted by people who obviously cared about the project. Nothing pushed, understated, yet I was screaming on the inside for more. I was totally invested in these people, and in the attention paid to the details of everything, no matter how small. I was just there. That rarely happens to me. I write, so I saw the ending coming. Loved it. Perfect. Hence the ten. On this one, writing nudged it up there.

The Redeeming (2018)

Slow, solid, and subtle

[10/10 · 27 June 2022]

Not every thriller has to be fast and furious. In this little gem, we virtually get to watch a woman crawl her way out of an emotional pit, inch by terrifying to her, inch. I should have picked up on the first explanation of what the story is, which comes in early. I heard it, but I didn't take the bait as I should have right then. I didn't miss the second clue around 13 minutes into the film. No one should miss that one. So, I was in for the ride, and what a ride. Even though I knew what was happening, beats and lines would appear to challenge what I thought I knew. Good writing. Then, there's the twist, which I should have gotten earlier than the "big moment" when everyone should get it. My only, very minor, criticism is the additional footage after that moment. Are viewers really not going to get it?

I appreciated what I saw as excellent production quality, and outstanding acting all around, The setting was charming, again, I think a conscious choice by the production team. Conflict doesn't always have to be in acting. Even how the cottage is referenced adds more to the story and what the main character is experiencing. I don't think they missed anything. There is so much there to find, some right out on top, some you have to let sink in, some you might have to really look for like a find the hidden widget drawings. For me, this is a must watch. To me, it's a tightly crafted script with lots of non-dialogue subtext that's been brought to the screen by what appears to me to be a thoughtful, artistic production team and quality actors.

Black Mountain Side (2014)

Go to school on this one

[10/10 · 24 May 2022]

A film has many elements that all have to pull together to make it a cohesive winner. I'm giving this film a ten for the crew, especially in lighting design, cinematography, set design, and directing. The lighting was superb, reminiscent to me of old masters' paintings. Stunning. Every set had interesting things to see without losing a focal spot, the camera positions and distances captured the moods, and the director's choice not to have underscoring to be more realistic are all an A+ in my book. An old adage is you can always learn what not to do when experiencing something that isn't up to your standards. With this film, I felt as if I just went to school on how to light masterful shots. Even if other elements might not have been as good, that's more than worth my time and a ten in my book.

Apartment 413 (2019)

Subtle touches got the rating from me

[10/10 · 30 November 2021]

It's the absolute melding of all underlying elements that won me over in this film. First, the truthfulness of the script. Second, the camera subtly telling us more about the disease and what happens when one fears it's happening. A coup to whoever called the blurred shot after he took his meds. Third, the quietness of the underscoring, along with the timing, coming in and fading out, much like the disease, sneaking up on one. The best, the score never overpowered the dialogue. Fourth, totally engaged and believable characters. No exposition, no messages, no hyperbolic acting. Telegraphing at a minimum. Just life as it happens, a window of reality. Shown, not told. To me, this little gem demonstrates everything essential to outstanding film making.