An Exercise In Nonsense

The film makes a home in your brain and the only cure is to see it again.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

It’s sentimental, ridiculously long and only occasionally funny

I've noticed in the past that movie-watchers tend to be very loyal to their genres and that when a movie crosses genres, as this one does, it tends to provoke a hostile reaction from a certain segment of the viewing public. The problem is that this movie appears to be an action thriller, but it isn't one at all. Not to give too much away, but it's actually a supernatural drama. (And when the genre of your movie is a spoiler, that's a bit of a marketing nightmare!) Certain reviewers have criticized this movie for being a bad action thriller--which makes sense because it isn't an action thriller. Others have assumed that the movie simply lost its way, when it has been very carefully crafted from the very first second (looking into a mirror) to be exactly what it is. Much has been made of the no-cut technique as if it's a gimmick, when it is in fact integral to the story. A cut in a movie, more than anything else, implies a jump in time, but time is a metaphysical impossibility in this movie--hence the comments about being punished for what will happen later and the protagonist's frequent musings on whether she has met these characters before.Some have felt that the actors are too wooden or melodramatic--"one-note," I believe a reviewer said--without realizing that this is exactly what they are supposed to be. Again at the risk of giving too much away, I'll just point out that these characters are not what they once were. They have eroded. What remains of them is a kind of imprint--thus, for example, the cop can't remember exactly who his family is even though he instantly identifies himself as a father. Each character has preserved only a core of habits, unresolved emotions, and concerns, and it is from this core that the characters speak and act. Even the most trivial comments convey this.Another problem with this movie is that it doesn't mesh neatly with our preconceived ideas of metaphysical reality. So, for instance, we could all deal with Angel Heart because we could tell right away that Robert De Niro was the devil, but here, we can't seem to find the right archetypes to help us along. Another review suggests that Dad is the devil, but I doubt that very much; I think he would say he's just a sick old man who likes power, who has done a lot of horrible things, and who still mourns the loss of his daughter. And I think he's very close to being right.The mood of the movie is perfect. It conveys the impression that we have stayed up all night and have reached that vulnerable time shortly before dawn when all decent, normal people are in bed, or possibly are in a different reality altogether; when the world seems empty of all vitality or meaning; and when even the most familiar settings seem unfamiliar. The anonymous sets convey as well this idea that we have stepped into some sort of shadow world where all the late-night fast food places are locked up, all the gas stations are closed, and all the daytime rules no longer apply.Altogether, this movie perfectly tells the story it has to tell. Unfortunately, those who had hoped that story would be an action thriller will continue to be disappointed.

Obviously, I'm going to have to watch this inane waste of time again just to see what all the reviewers are raving about. From the opening shot when the hit man's phone rings and he looks at it like a caveman looking at the control panel of a Boeing 747, I knew I was in for a real piece of overacting. And I wasn't disappointed. Quick jerk of the neck, raised eyebrow, and a ponderous, "Hmmmm. What is this object on the nightstand that's emitting a ringing tone?" 43 seconds later, he figured it out and answered the damned thing... Everybody overacts. Even the "real" people. I think perhaps it was less an "amazing 90 minute one take" piece of directing and more of a "Hey! We've got a 90 minute tape in this camcorder--let's make a movie!" Don't waste your time.

Very unusual experience this film. Refreshingly, I didn't know what to expect at any given moment. The energy of the film was almost gorilla-like. The filming of the movie seemed very raw and simplistic, with a mysterious feel. I found myself eerily captivated. And the most interesting part is the dialog, simple, yet if you don't pay attention, you miss so much, even the most inane conversation is important to the plot line, brilliant! This is the first truly independent film I've seen in years. I recommend this film to anyone tired of the clean Hollywood feel of so called "independent films" these days. If you want an honest, no frills movie experience, check out this movie, you won't know WHAT hit you when your done!

Saw this movie in Cannes, and can't stop thinking about it. What an amazing piece of work! First of all, technically it's astounding -- the film is done in one uninterrupted take, and the visual acrobatics of this Mount Everest of shots are just incredible. I can't even begin to imagine the amount of planning, rehearsals, sweat and tears that went into this "one-shot wonder". Second, the story, the performances, and everything else in this movie is just brilliant. Angela Bettis -- where have you been hiding all my life? An unbelievable actress who grabs you by the throat (and the heart) and never lets go. All in all, this is a heartbreaking, inspiring, visionary movie -- a modern masterpiece.