rebelphilos
Joined Aug 2005
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Reviews9
rebelphilos's rating
First let me say that overall for a low-budget movie the outcome has merit. The plot was catching but it fails to deliver a coherent conclusion.
The story develops in small-city Appalachia. It starts with a very commonplace situation that could be the preamble to a very lame movie, or a promise that better things are coming to justify the beginning. Fortunately, it is the latest.
In this first fragment, Claire -student at day, night gas station mini-market cashier at night- leaves her job and walks to the road to wait for her boyfriend to pick up her -she hasn't a driver's license-. Her boyfriend's truck arrives but driven by an unknown man, despite what, she accepts the ride. As you are already imaging he harassed her all the way until they arrive to Claire's home, and after some suspense -yes you are right again- the stranger kills her. However, wait, right here the plot starts looking interesting. Immediately after the supposed murder the story goes back to the point in time where it started -Claire leaving her job and walking to the road to wait for her ride- except that some details change.
At this point I said "well, this is going to be interesting", and began to guess which was main concept behind the plot. It looked good for some sort of time shifting and/or parallel or alternative realities. The following sequences reaffirmed that idea but at some point they stopped being consistent with any of the ideas I mentioned before. I made an effort to think of a new one that made better sense but couldn't find anyone except the some kind of no so exciting ghosts-spirits limbo, which didn't convince me completely neither.
Lauren Currie Lewis as Claire delivers a very good performance. She has a placid kind of beauty somewhere between Alicia Silverston and a female version of Jake Gyllenhaal (she could be a female "Donnie Darko" too if the film didn't drift into massive confusion) with evident talent for drama.
Sound and music were outstanding with powerful songs by the rather unknown "Devola".
As said before, keep trying.
The story develops in small-city Appalachia. It starts with a very commonplace situation that could be the preamble to a very lame movie, or a promise that better things are coming to justify the beginning. Fortunately, it is the latest.
In this first fragment, Claire -student at day, night gas station mini-market cashier at night- leaves her job and walks to the road to wait for her boyfriend to pick up her -she hasn't a driver's license-. Her boyfriend's truck arrives but driven by an unknown man, despite what, she accepts the ride. As you are already imaging he harassed her all the way until they arrive to Claire's home, and after some suspense -yes you are right again- the stranger kills her. However, wait, right here the plot starts looking interesting. Immediately after the supposed murder the story goes back to the point in time where it started -Claire leaving her job and walking to the road to wait for her ride- except that some details change.
At this point I said "well, this is going to be interesting", and began to guess which was main concept behind the plot. It looked good for some sort of time shifting and/or parallel or alternative realities. The following sequences reaffirmed that idea but at some point they stopped being consistent with any of the ideas I mentioned before. I made an effort to think of a new one that made better sense but couldn't find anyone except the some kind of no so exciting ghosts-spirits limbo, which didn't convince me completely neither.
Lauren Currie Lewis as Claire delivers a very good performance. She has a placid kind of beauty somewhere between Alicia Silverston and a female version of Jake Gyllenhaal (she could be a female "Donnie Darko" too if the film didn't drift into massive confusion) with evident talent for drama.
Sound and music were outstanding with powerful songs by the rather unknown "Devola".
As said before, keep trying.
When you decide to watch a movie like this updated version of "The hills have eyes" you are not looking for a Hitchcock nor a Kubrick. Not even an Oscar nominee. What you really want is a couple of hours of good plain entertainment, with some smart suspense, a minimally coherent plot, and a good production that should translate in a clear direction, good photography and adequate sound (yes, sound, the main element in the "boo-factor", you know, those moments when the people jump from their seats and screams pop up around the theater).
Well, this movie has all of the above. It provides the kind of entertainment you expect without being too explicit except in what refers to human or mutant butchery that nowadays seems to be a must for the genre. Nevertheless these scenes are very well achieved, rounding an excellent work in cinematography by Belgium Maxime Alexandre, under an overall good direction over his own screenplay by Frenchman Alexandre Aja.
For my surprise this movie does not make use of the usual resource of the hot chicks nor hot guys. Actually there is nothing close to the hot guy stereotype, but even though there is good hot chick material in American Vinessa Shaw (a Kubrick-chick if you remember "Eyes Wide Shut") and Australian Emilie de Ravin (your lovely Claire Littleton in "Lost") playing as sisters, there is basically no explicit use of her sensuality, even less of her natural body attributes. There are two scenes than run together where one after other sister are under some kind of perverse sexual harassment where almost everything is left to you to complete with your own dirty mind.
Again, be aware that this is a good movie form the absolute light entertainment point of few. Don't think not even for a second it's perfect. The plot is full of holes, some impossible stuff happens, but what the hack, the whole idea is just a big impossibility, this is not a documentary or anything like that. So be smart, lower your criticism, help yourself with a drink, a good dosage of sugar or whichever substance makes your mood go smooth, relax and have fun.
Well, this movie has all of the above. It provides the kind of entertainment you expect without being too explicit except in what refers to human or mutant butchery that nowadays seems to be a must for the genre. Nevertheless these scenes are very well achieved, rounding an excellent work in cinematography by Belgium Maxime Alexandre, under an overall good direction over his own screenplay by Frenchman Alexandre Aja.
For my surprise this movie does not make use of the usual resource of the hot chicks nor hot guys. Actually there is nothing close to the hot guy stereotype, but even though there is good hot chick material in American Vinessa Shaw (a Kubrick-chick if you remember "Eyes Wide Shut") and Australian Emilie de Ravin (your lovely Claire Littleton in "Lost") playing as sisters, there is basically no explicit use of her sensuality, even less of her natural body attributes. There are two scenes than run together where one after other sister are under some kind of perverse sexual harassment where almost everything is left to you to complete with your own dirty mind.
Again, be aware that this is a good movie form the absolute light entertainment point of few. Don't think not even for a second it's perfect. The plot is full of holes, some impossible stuff happens, but what the hack, the whole idea is just a big impossibility, this is not a documentary or anything like that. So be smart, lower your criticism, help yourself with a drink, a good dosage of sugar or whichever substance makes your mood go smooth, relax and have fun.
Simon Cowell manages to try another spin-off of "American Idol", despite of the failure with his previous attempt "American Inventor".
It follows the same guidelines than "American Idol", you know, a host the three stereotypical judges, an obedient crowd for audience, and some entertaining contestants plus many more that are shown only for their humiliation on national TV, that is actually what most of the public seems to dig anyway. Even more, giving it is an open talent contest, half of them are singers what gives Cowell a chance for a shot closer to the "Idol" success.
Regis Philbin does his job, he always manages to look as a nice guy, I don't think he contributes rising the show interest but is not responsible for the poor overcome either.
Moving on. I may concede that the Idol's judge model settled what seems to be the Holly Grail of reality-show contests, but that's not magic. The chosen court must have some charisma. In the Idol, it was this Cowell's quality that brought attention to the show. But did he manage to put together an attractive set of judges prescinding of himself? Let's see.
Let me start by David Hasselhoff just because he is the only I know. At least when watching Hasselhoff a couple of generations will feel some kind of comfort reminding "Knight rider" and "Baywatch". And it guarantees the show will be sold in Germany too.
Piers Morgan, who I don't have any clue who he is, takes the role of the wise and balanced judge completing his stereotype with a British accent that in America seems -wrongfully- to be synonymous of a higher intellect.
Finally Brandy. No, they are not drinking any alcoholic liquor, but may be you'll need it to digest why this completely unknown -or at least very well forgotten- singer (that is how they introduced her) is the judge that completes the trilogy. When Hasselhoff and Morgan are somehow appealing, Brandy is some kind of hyper-kinetic and overexcited Tasmanian Devil sat in the middle. At some point I felt bad for Morgan whose face seems Brandy preferred target for the uncontrollable spin of her arms and her annoying affection demonstrations.
In his modesty Cowell doesn't realize that the success of his shows is linked to him being in front the cameras rather than behind them. If Simon were in this show not even the contestants would be necessary to nail its success. But this is not the case. Clearly.
It follows the same guidelines than "American Idol", you know, a host the three stereotypical judges, an obedient crowd for audience, and some entertaining contestants plus many more that are shown only for their humiliation on national TV, that is actually what most of the public seems to dig anyway. Even more, giving it is an open talent contest, half of them are singers what gives Cowell a chance for a shot closer to the "Idol" success.
Regis Philbin does his job, he always manages to look as a nice guy, I don't think he contributes rising the show interest but is not responsible for the poor overcome either.
Moving on. I may concede that the Idol's judge model settled what seems to be the Holly Grail of reality-show contests, but that's not magic. The chosen court must have some charisma. In the Idol, it was this Cowell's quality that brought attention to the show. But did he manage to put together an attractive set of judges prescinding of himself? Let's see.
Let me start by David Hasselhoff just because he is the only I know. At least when watching Hasselhoff a couple of generations will feel some kind of comfort reminding "Knight rider" and "Baywatch". And it guarantees the show will be sold in Germany too.
Piers Morgan, who I don't have any clue who he is, takes the role of the wise and balanced judge completing his stereotype with a British accent that in America seems -wrongfully- to be synonymous of a higher intellect.
Finally Brandy. No, they are not drinking any alcoholic liquor, but may be you'll need it to digest why this completely unknown -or at least very well forgotten- singer (that is how they introduced her) is the judge that completes the trilogy. When Hasselhoff and Morgan are somehow appealing, Brandy is some kind of hyper-kinetic and overexcited Tasmanian Devil sat in the middle. At some point I felt bad for Morgan whose face seems Brandy preferred target for the uncontrollable spin of her arms and her annoying affection demonstrations.
In his modesty Cowell doesn't realize that the success of his shows is linked to him being in front the cameras rather than behind them. If Simon were in this show not even the contestants would be necessary to nail its success. But this is not the case. Clearly.