Psychological thriller concerns Sonia, a young and pretty hotel maid who attends a speed dating event eager to meet a boyfriend. She finds one in Guido, an ex-cop-turned-security guard. They begin seeing each other. Then bad stuff happens. The way the mystery unfolds, that is, the design of this suspense puzzle is intriguing. But the specifics cannot really be discussed in much detail without spoiling the fun. The movie is unpredictable right from the start. Within the first few minutes, a young woman jumps to her death from a hotel window, apparently a suicide attempt. No explanation is given. It’s one of those dramas where looks can be deceiving and nothing is as it seems. Duane Dudek of the Journal Sentinel described it as a “moebius strip of a tale” and that’s such an apt description, I had to quote him.
The script is interesting, but what ultimately draws you in the most, are the performances of the two leads. Russian actress Kseniya Rappoport plays Sonia with a mysterious, ambiguous quality that is alluring, but also aloof and distant. Italian actor Filippo Timi is a more simple fellow. He’s approachable and trusting but with a guarded exterior. The couple have such chemistry, their interaction is fascinating. Their association is even highlighted by a steamy romantic encounter. Erotic scenes can sometimes come across as laughable, particularly when they are overly intense. It’s a tribute to the stars’ magnetism that the affair here is seductive.
Much has been made of the debt the story owes to directors like Hitchcock but this decidedly chilly thriller has much more in common with European art house pictures like “Read My Lips,” and “Tell No One” than any Hollywood production. Those modern movies are good so it’s definitely a compliment. However, Hitchcock’s characters displayed considerably more humanity that this lot. There’s an inaccessibility, a distance between them and the viewer, that prevents us from truly getting to know or understand them.
Film noir, melodrama, suspense, even horror elements are all expertly crafted into an intricately woven plot that holds our attention until the very last frame. The title refers to those moments when a clock reads double digits, such as 11:11 or, in European time, 23:23. It’s at precisely those minutes you are entitled to make a wish. Whether these aspirations come true is open for debate. It’s an enigmatic film. One that doesn’t always play fair with the audience, but thanks to the two charismatic leads, we really don’t care.
Director Miguel Arteta’s adaptation of the novel by C.D. Payne is a smart-alecky escapade about love and teen angst. Nick Twisp is a 14 year old smitten with an attractive neighbor. His goal to lose his virginity is not the noblest of objectives, but it allows for many witty one-liners on the difficulties of dating and romance. It might’ve helped if his dream girl, Sheeni Saunders, was a bit more tender. She treats him with casual indifference for most of the film. Despite being one of star Michael Cera’s lesser efforts, the story still has several moments of genuine humor: his accidental act of arson, those Kama Sutra hallucinations, or his failure at faking his own death are funnier because of his quirky charm. The action is populated with eccentric individuals with which Nick playfully interacts. One such character is Nick’s alter ego Francois Dillinger, brazen and confident in the ways of seduction. This writer’s device is somewhat reminiscent of Woody Allen’s reliance on Humphrey Bogart in Play It Again Sam. Youth in Revolt is not even close to that legendary film’s appeal, but in 2009, you could do worse.
Dark comedy is true account concerning con artist Steven Jay Russell who met the love of his life behind bars. Bizarre feature is alternatingly funny and touching at different times and the weird shifts in tone are frustratingly uneven. One moment the movie attempts to be a poignant love story, the next it’s a vulgar farce making exaggerated jokes about the relationship. Witty satire that sends up the stereotypical expectations of a perfect life and Steven’s uncanny ability to break out of prison over and over, are fascinating details only fleetingly touched upon. Jim Carey, in a seriously mannered performance, always appears to be on the verge of bursting out laughing and yelling “gotcha”. He manages to keep it together, but he looks uncomfortable. His physically gaunt appearance throughout the entire film is off-putting too. In the end, the discordant script wants to both be hilariously raunchy comedy and touchingly emotional drama and eventually doesn’t succeed on either level.
Minor family drama about father Frank Goode who sets out to visit each one of his adult children after they separately cancel their plans to have dinner at his house. There’s some nuanced acting here, particularly from a uncharacteristically calm Robert De Niro, who is engaging. Unfortunately the whole affair is just so thoroughly underwhelming. Slight doesn’t even begin to describe the plot. It’s surprising the story was able to attract such a high caliber cast. A mildly charming diversion, but certainly nothing to write home about. (I could barely summon up the energy to write this review) Remake of a 1990 Italian drama starring Marcello Mastroianni.
Fast Film Reviews 