The Longest Yard - (Peter Segal;2005;USA) An ex-football player is put in prison for drunk driving and forced to train fellow inmates for a football game against the guards. Another bad Peter Segal movie. A pointless remake with predictable laughs throughout the whole thing. But wait! There's more! It even follows the standard cliche formation of film in the final game. SpoilersStart off doing good, start losing, and come back winning.Spoilers end.
The Set-Up (1949) First Viewing Directed by: Robert Wise Rating: [/i]
One of director Robert Wise's earlier films still stand up over time. This is a tale of a boxer in his mid-thrities who is down and out and who'se manager has laid bets and arranged for him to dive this evening, only their boy (Robert Ryan) doesn't know it. Well crafted, tautly directed and well acted by Ryan and Co. The main fault of the film is the lack of chemestry between Ryan and his wife in the film, Audrey Totter.
A wealthy gambling addict, who's down on his luck, plots to rob a casino.
Excellent character study presented wonderfully by Melville, with the heist and the planning taking second page to the story of one man coming to terms with old age. However, it is hard to take your eyes off the screen during the last fifteen minutes. A masterpiece.
An Israeli is assigned to lead a task force in assassinating the terrorists behind the Munich murders in 1972.
Spielberg manages to make an excellent, top-notch thriller that is never boring, as well as explore his usual theme of the relationship (or lack there of) with fathers and sons. Eric Bana gives one of the best performances of the year, and the supporting cast is also excellent. If only the final scene were cut, this might have been the best film of the year.
Robert: Ever notice there's the word "mask" in masculine? And also "ass"? Paul: And in feminine? Robert: Nothing.
Elephant Gus Van Sant 2003 US 1st time An ordinary day in an American high school turns into a disaster when two friends go through with their plan to randomly kill their fellow students. A powerful, multi-character drama which, when viewed, is immediately excellent, though one is not necessarily sure why. Shot in long-takes, with the camera tracking from behind its characters through empty hallways, it is a haunting depiction of human tragedy.
I'm an ugly bag of mostly water born to be informed and the only one that knows me is Obi-Wan Kenobi.
Out of the Past (1947) First Viewing Directed by: Jacques Tourner Rating: [/i]
Perhaps the highlight of the Warner's Film Noir set that I've been exploring, this gem is nothing less than a masterpiece of noir. Staring Robert Mitchum this is the story of a former Private Detective draged out of hiding to fix up some unfinished bussines . This really is just an amazing film, Nail bitting, gripping and unrelenting.
Following (Christopher Nolan;1998;UK) An aspiring writer who stalks people for material is caught in the act by a thief, who takes him under his wing. A great, solid piece of Indie filmmaking from Nolan. This and Memento show he is someone to watch when it comes to original material. The narrative is a little odd at times, but it pulls itself together for a memorable ending that never gets old. Original ideas like this are needed in Hollywood.
The 40 Year Old Virgin - (Judd Apatow;2005;USA) A 40 year-old virgin is pushed by his co-workers to lose his virginity. The first half is great, hilarious, and at times even feels character-study-ish. The second half gets rocky between genuine laughs and cliche, and finishes off with an annoying ending that'll leave you with Deja Vu (I at least felt I saw something similar before). Carrell pushes the film forward even more with his presence. Summed up, it's a very good comedy.The first half is great, hilarious, and at times even feels character-study-ish. The second half gets rocky between genuine laughs and cliche, and finishes off with an annoying ending that'll leave you with Deja Vu (I at least felt I saw something similar before). Carrell pushes the film forward even more with his presence. Summed up, it's a very good comedy. Better than the overrated Wedding Crashers.
Arugably the underrated genius Harold Llyod's most famous film--solely for the sequence in which he climbs up a building and dangles from a clock--is, to me, more proof that the silent comedian is much funnier than his more-lauded counterparts, Keaton and Chaplin (though Chaplin's films are more mature and contain more pathos, and generally, are better; Keaton is overrated, though still great). While watching the famous climax, it struck me as more suspenseful of an action-scene than, say, any in Peter Jackson's recent remake of King Kong and the reason is because it is all real (while Kong is way too artificial). Harold's determination in this film must've been a huge inspiration for George Costanza.
Jackie Brown (1997/Tarantino)
Tense thriller, surprisingly different from Tarantino's earlier films (though as an auteur, it fits easily into his oeuvre), filled with twists and turns. The entire cast delivers terrific performances, B-movie stars Grier and Forster in particular.
The Man Who Fell to Earth (1976/Roeg)
Obviously a big inspiration for David Lynch's recent films, such as Mulholland Dr. and Lost Highway, as the tone and plot structuring is similar. Though a plot is rather easy to place together in this film, it is in many ways an incomprehensible mess, albeit a well shot and acted one (Bowie is perfectly cast as an alien). The final scene reveals a "message" to take from the film which seems out of place in context and only confirms that the plotting of this movie was inappropriate. Still, a very interesting film.
I hate to admit it, as it will make me seem like an inept film-goer, but I left the film rather confused; unlike The Man Who Fell to Earth, the problem was not a lack of details, but this time too many. There's so much going on here that I, as did writer/director Stephen Gaghan, began to lose focus as there are too many stories. The stand-out ones involve George Clooney and Matt Damon; ones involving Middle Eastern characters, while necessary, seem shoved in and underdeveloped. I need to rewatch this, but nevertheless, was generally impressed. Clooney delivers the best performance I've seen thus far this year, and despite not pulling it off flawlessly, Gaghan manages to tell a story extremely epic in scope without one loosing interest.
At the beginning of December I promised myself I'd actually write Proviews for all the films I see. Since I didn't, I'm doing it now...
The Shape of Things Neil LaBute 2003, USA / France / UK[/color] 1st viewing - Compelling adaptation of LaBute's own stage production, concerning art's relationship with the humanity and morality that sustains it, and its place and purpose in society.[/size]
Where the Truth Lies Atom Egoyan 2005, Canada / UK / USA[/color] 1st viewing - A brilliant, masterful exploration of truth and memory, taking the form of a lurid mystery thriller. Egoyan layers and twists narrative like no other filmmaker I know of. One of the best films of the year.[/size]
Ararat Atom Egoyan 2002, Canada / France[/color] 1st viewing - Fractured and woven in a similar manner to his masterful Exotica (1994), Egoyan's continuing examination of memory, truth, time and cinema this time centers on the creation of a film about the Armenian holocaust, and denials that the atrocity ever took place at all. This is deeply intelligent filmmaking that simply must be seen. Egoyan's best.[/size]
Andrey Rublyov Andrei Rublev Andrei Tarkovsky 1966, Soviet Union[/color] 1st viewing - Innovative long-takes and episodic narrative paint an amazing portrait of medieval Russia in alternately broad and intimate strokes, the savage society and the artist as necessary dissident within it.[/size]
The Pillow Book Peter Greenaway 1995, France / UK / Netherlands[/color] 1st viewing - A sarcastic, subversive celebration of cinema's centennial. More games: Image as illustrated text, text as image, flesh as image, flesh as text, etc. Not Greenaway's best, but accessible, timely and, as usual, extremely clever.[/size]
Felicia's Journey Atom Egoyan 1999, Canada / UK[/color] 1st viewing - Deliberately paced and typically subtle Egoyan piece. It's another study of cinema as memory, and there's never been a serial killer film quite like this one.[/size]
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe Andrew Adamson 2005, USA[/color] 1st viewing - Shaky casting and predominantly uninspired direction hurt this, but it's a faithful illustration of the first Narnia tale. It goes to show how powerfully informative popular cinema is of our visual imagination that the way in which I'd always envisioned this story when reading the, very slight, novel (angles from which I 'viewed' the action, landscapes, space, architecture, etc.) is almost exactly the same way the filmmakers had. It's a pleasure to see memories of childhood imaginings projected on the screen. Though the film is generally straightforward, concerned with little more than the translation at hand, there are a few moments of cinematic innovation that, along with the tale itself, make this a worthwhile project. When the White Witch sends her royal guard out after the children, the wolves run in formation through the throne room, the camera lies on the floor facing the throne, two wolves run to each side, and the fifth jumps over the camera. It's not something you see in Hollywood cinema, acknowledgement of the camera's physical existence, but what makes it more impressive is that the wolf that jumps over the camera and thereby grants it objective place is himself a CGI creation with no objective place in the frame. A clever inversion. Other moments of ingenuity include a camera that cowers from falling rocks and another that investigates the space of the beaver's home as directed by the sound of the intruding wolves' digging.[/size]
Crash David Cronenberg 1996, Canada / USA[/color] 2nd viewing - The movie that, more than any other, earned David Cronenberg his popular (unfair) reputation as a cold, detached filmmaker interested in humans only as organisms in flux. It's not an easy film to watch, it's not fun, but it is audacious, visionary and profound.[/size]
Dramolet (Stille Nacht I) Stephen Quay / Timothy Quay 1988, UK[/color] 3rd viewing - I don't know where to begin describing the Quays' films. Here, a puppet at his breakfast table witnesses a small magnet in the adjacent room accumulating a sparkling coat of gossamer steel. One minute of pure visual joy.[/size]
Are We Still Married? (Stille Nacht II) Stephen Quay / Timothy Quay 1992, UK[/color] 3rd viewing - A mere three minutes, and one of the most astonishingly beautiful things I've ever seen. Based around the Alice in Wonderland mythology; this is the white rabbit chasing a bouncing ball, a gaunt finger rapping at the window, and Alice moving up and down on tip-toe. It's an amazing feeling, seeing brand new images - and a vivid reminder that almost all other cinema is, visually at least, poisonously banal.[/size]
Kárhozat Damnation Béla Tarr 1987, Hungary[/color] 1st viewing - With this film and Werckmeister Harmonies, Béla Tarr has become one of my favourite filmmakers. This is a slow, meditative, dumbfoundingly beautiful portrait of life as one sprawling, aimless non-sequitur, a philosophical dead-end, just hopeless, murky malaise. This film's images are haunting me. (Sidenote: Gus Van Sant cites Tarr as the main influence on his latest works, paying direct homage to him in Gerry (2001), recreating shots from Sátántangó (1994) and Werckmeister (2000). I think Tarr's films are far superior, and I love Van Sant's, so check him out if you feel the same.)[/size]
Hra s kameny A Game with Stones Jan Svankmajer 1965, Austria[/color] 1st viewing - Svankmajer's second film is hilarious. Animated prop comedy in which stones 'drip' out of a faucet and arrange themselves into various shapes; animals, people, sexual organs, etc. Can't be explained, has to be seen. [/size]
Rakvickarna Punch and Judy / The Coffin House Jan Svankmajer 1966, Czechoslovakia[/color] 1st viewing - Funny, crude sketch featuring two hand puppets fighting over a live guinea pig.[/size]
Et Cetera Jan Svankmajer 1966, Czechoslovakia[/color] 1st viewing - Like an elaborate flickbook. Three rather abstract animations repeat the same mistakes over and over. Minor Svankmajer.[/size]
Picknick mit Weissmann Picnic with Weissmann Jan Svankmajer 1968, Austria[/color] 1st viewing - Inexplicably creepy short in which all the furniture, food and utensils come alive and picnic without the people.[/size]
Nothing Vincenzo Natali 2003, Canada[/color] 1st viewing - Hilarious in the same original but exhausting way as I Heart Huckabees, this semi-sequel to Cube (1997) focuses on two lifelong friends whose extreme put-uponness grants them the power to 'hate away the world'. Agoraphobia replaces claustrophobia when they step outside their house to find... absolutely nothing.[/size]
King Kong Peter Jackson 2005, New Zealand / USA[/color] 1st viewing - Despite some silly script contrivances here and there (I agree with Thug about the "S-K-U-L-L" moment), this is an immensely exhilerating film. I often envy others their ability to get swept away in a movie, as it's something I've sidelined in myself, but Kong gave me no option, it's infallible, intoxicatingly perfect entertainment. As for the length; well, by the time we got to the part I'd seen in the 4-minute online preview, I checked my watch, and more than two hours had slipped by unnoticed. It's not a minute too long. There's a really cool, subtle reference to the original film near the beginning when Denham is rattling off the names of actresses who might fit the part, he mentions 'Fay', and he's told, 'No, she's shooting a movie over at RKO,' to which he replies, 'Cooper! I should've known...' Really sly, and pretty deep if you consider the actual implications of it, especially since Denham ends up filming recreated scenes from the original Kong. I also have to mention a scene that made me realise what a good visual storyteller Jackson is. It's our introduction to Bruce Baxter, the star of Denham's film, he's in his room, mugging at all his own movie posters, when he notices someone has scribbled a moustache on one of them - he does a double take, then contemplatively picks up a black comb, holds it to his upper lip in the mirror, and raises a single 'derring-do' eyebrow. We learn so much about his character without a word spoken. Anyway, terrific film.[/size]
Hotel Room David Lynch / James Signorelli 1992, USA[/color] 1st viewing - Why oh why couldn't Lynch have directed the whole thing? His first segment, "Tricks", in which two men intimidate and harass a prostitute, is strongly reminiscent of both Twin Peaks and the final scenes of Blue Velvet, and it's very, very good. Then comes Signorelli's segment, a dialogue-heavy, stylistically mute bit of fluff called "Getting Rid of Robby", which is only worth sitting through because what follows is one of the most troubling and accomplished films David Lynch has ever directed, "Blackout", an almost unbearably tense, ambiguous conversation between a young man (Crispin Glover) and his mentally disturbed wife (Alicia Witt) during a power outage. It is absolutely phenomenal and genuinely frightening.[/size]
Spiklenci slasti Conspirators of Pleasure Jan Svankmajer 1996, Czech Republic / Switzerland / UK[/color] 1st viewing - Masturbation as art and art as masturbation and both as communication breakdown is the premise of Svankmajer's third feature, in which six people who interact in a superficial, civilised manner with eachother from day to day retreat to privacy and invent amusingly elaborate methods of self-gratification, which include rehearsing murders in a homemade chicken costume, funnelling tiny bread-balls into cranial orifices and making love to a seriously tricked-out television, all without a single word of dialogue. Brilliant.[/size]
Byt The Flat Jan Svankmajer 1968, Czechoslovakia[/color] 1st viewing - An early example of Svankmajer's amazing ability to blend stop-motion animation and live-action photography, as well as his tendency toward surrealistic political allegory. A man moves into a flat where nothing obeys the laws of physics, and remains trapped there.[/size]
Tichý týden v dome A Quiet Week in the House Jan Svankmajer 1969, Czechoslovakia[/color] 1st viewing - A gorgeous, inspired film. A man spends one week in a country house, gazing through a different keyhole each day, and witnessing one stunning display of animated detritus and surreal juxtapositions after another.[/size]
Zánik domu Usheru The Fall of the House of Usher Jan Svankmajer 1980, Czechoslovakia[/color] 1st viewing - A reading of Poe's story accompanied by dark images of empty rooms and crumbling architecture, animated clay writhing and reforming, and inert matter 'decomposing'.[/size]
Moznosti dialogu Dimensions of Dialogue Jan Svankmajer 1982, Czechoslovakia[/color] 1st viewing - Despite the name, there's no dialogue. This is one of Svankmajer's finest films, and is broken into three animated segments. In the first, "Exhaustive Discussion", three men, made of fruit and veg, kitchen utensils and office supplies, devour, chew up and regurgitate eachother until they are all rendered pulp. In the second, "Passionate Discourse", two clay figures lustfully assimilate oneanother, then each refuse custody of their little clay offspring. And in the third, "Factual Conversation", two 'talking heads', probably politicians, play an absurd game of rock-paper-scissors, or bread-shoe-toothbrush/butter-laces-toothpaste, and can't seem to reach an agreement, until they decide that butter may as well go with shoe, bread with toothpaste, it's all the same. Svankmajer is a genius and this is a masterpiece.[/size]
I'll post the rest of my December viewings tomorrow.
Thug, I was also confused greatly upon a first viewing of "Syriana". I agree with what Ebert said in his review stating, 'No one in the film see's the whole picture, so why should [the audience]?' Upon a second viewing, everything made sense, and the film is even better.
A young man joins the porn industry and soon experiences the best and worsts things it has to offer.
Anderson takes an old formula-tic plot and adds an excellent twist to it, making this a film about film-making more than anything else. The characters in the film are all drawn out perfectly, and never seem artificial, nor do their actions. Plus, the ensemble cast turns in great performances. It's so well detailed and put together. This is one marvelous film.
Robert: Ever notice there's the word "mask" in masculine? And also "ass"? Paul: And in feminine? Robert: Nothing.
Do pivnice Down to the Cellar Jan Svankmajer 1982, Czechoslovakia[/color] 1st viewing - A little girl ventures into her cellar, discovering in adjacent rooms a man who sleeps under his coal and a woman who bakes hers, both of whom wish her to join them. Creepy live-action short.[/size]
Kyvadlo, jáma a nadeje The Pit, the Pendulum and Hope Jan Svankmajer 1983, Czechoslovakia[/color] 1st viewing - A largely first-person adaptation of Poe's story. A man bound to a table below a swinging sickle-bladed pendulum attempts to free himself.[/size]
Zamilované maso Meat Love Jan Svankmajer 1989, UK / USA / West Germany[/color] 4th viewing - Two slices of meat come alive, court, dance and make love, before getting stabbed with a fork and fried.[/size]
Flora Jan Svankmajer 1989, USA[/color] 1st viewing - Extremely funny 20 second sight-gag that any description would ruin.[/size]
Konec stalinismu v Cechách The Death of Stalinism in Bohemia Jan Svankmajer 1990, UK[/color] 1st viewing - Svankmajer's cathartic paean to the end of Communism in the Czechoslovakia, in which propaganda is imaginatively defaced and statues are surgically eviscerated.[/size]
Jídlo Food Jan Svankmajer 1992, Czechoslovakia / UK[/color] 3rd viewing - In three parts. "Breakfast" sees people becoming biomechanical vending machines, "Lunch" sees two men, ignored by their waiter, eating their clothes and the restaurant furniture, and "Dinner" sees various people eating their own body parts. Svankmajer's excellent farewell to the short format.[/size]
Tma/Svetlo/Tma Darkness/Light/Darkness Jan Svankmajer 1989, Czechoslovakia[/color] 1st viewing - A man literally constructs his own body in a tiny room. Visually brilliant and typically witty allegory for the artist's place in an oppressive society. One of Svankmajer's best.[/size]
La cité des enfants perdus The City of Lost Children Jean-Pierre Jeunet / Marc Caro 1995, France / Germany / Spain[/color] Ist viewing - Lush, meticulously stylised film that suffers from a Burton-esque emptiness and forced, Gilliam-at-his-worst humour. Considering I've been wanting to see this for the better part of a decade, I'm quite disappointed (and less eager to see Caro return to directing).[/size]
Lumière et compagnie Lumière and Company Merzak Allouache / Theo Angelopoulos / Vicente Aranda / Gabriel Axel / John Boorman / Youssef Chahine / Alain Corneau / Costa Gavras / Raymond Depardon / Francis Girod / Peter Greenaway / Lasse Hallström / Michael Haneke / Hugh Hudson / James Ivory / Gaston Kaboré / Abbas Kiarostami / Cédric Klapisch / Andrei Konchalovsky / Patrice Leconte / Spike Lee / Claude Lelouch / Bigas Luna / David Lynch / Ismail Merchant / Claude Miller / Sarah Moon / Idrissa Ouedraogo / Arthur Penn / Lucian Pintilie / Jacques Rivette / Helma Sanders-Brahms / Jerry Schatzberg / Nadine Trintignant / Fernando Trueba / Liv Ullmann / Jaco van Dormael / Régis Wargnier / Wim Wenders / Kiju Yoshida / Zhang Yimou 1995, France / Denmark / Spain / Sweden[/color] 1st viewing - 40 directors from around the world each attempt to make a 52 second film with the original Lumière brothers' cinematograph. As fascinating as the project sounds, it doesn't really work. Only a handful of the shorts actually stand on their own as worthwhile works, most are totally uninspired and there's a great deal of repetition, and as a documentary on the creation of the films or on the creative process of the filmmakers or on the history of cinema, it's very slight and scattered. It is interesting as an experiment, though, and the few shorts that do work (Lynch, Greenaway, Konchalovsky, Rivette, Lelouch, Kiarostami), work well. Before and after their segments, everyone is asked the same questions; "Why do you film?" and "Is cinema mortal?" To which most respond, "I don't know" and "No". And, ultimately, it is a question that Lumière et compagnie asks of the viewer: What would you film?[/size]
Johann Sebastian Bach: Fantasia G-moll Johann Sebastian Bach: Fantasy in G-Minor Jan Svankmajer 1965, Czechoslovakia[/color] 1st viewing - Image and sound, and one in command of the other. Bach's music results in the decomposition of the architecture around it.[/size]
The Baby of Mâcon Peter Greenaway 1993, UK / France / Germany / Belgium / Netherlands[/color] 1st viewing - Paintings within a play within a play within a film composed as a series of paintings and the cross-pollination of the various realities. This is Greenaway's most disturbing and powerful work, and quite possibly his best, despite its reputation to the contrary. It is a criticism of Christianity. A beautiful child is born to a hideous woman, her daughter claims him as her own, a virgin birth, and uses him to exploit the religious community of Mâcon. When she is discovered, she is sentenced to be raped over 200 times and her child is cannibalised. The rape is unseen, taking place behind the curtains of a four-poster bed with a queue of men outside. The camera tracks around the huge room in one complicated long-take listening to her screams. The various narrative layers are utilised horrifically, when, within the play, once she moves to the bed and the curtains are drawn, she breaks character, shifting into the second play, and expresses relief that it's all just pretend, only to be restrained and told that, no, it's not.[/size]
Son of Kong Ernest B. Schoedsack 1933, USA[/color] Ist viewing - Rambling postscript to King Kong in which Carl Denham returns to Skull Island in search of treasure and discovers Kong's friendly son. But forget the plot, this is worth watching solely because the composite effects are amazing, occasionally surpassing the original. Live-action, stop-motion miniatures and rear-projection are blended seamlessly in several incredibly complicated tableau shots.[/size]
No Direction Home: Bob Dylan - (Martin Scorsese;2005;UK/USA/Japan) A documentary that follows Bob Dylan from his childhood to his rise in fame and notorious transition from acoustic folk music to rock. Through this film I thought how easily it could've been "Dylan," a biopic starring whoever. Instead we get a portrait of a musical genius much more intimate and real. Dylan's interviews and press conferences can't be duplicated for the screen, because you have to see him in his annoyance with the media upfront. The concert footage is undoubtedly excellent. We are also treated to rare videos of his inspirations in Part I. Scorsese's direction is easy to notice through the narrative as well. The best moment comes in the end SPOILERS, where Dylan comes to his concert where he is called "Judas." He shakes it off, calling the man a liar, and what does he say to his band mates? "Play it loud."SPOILERS END
Good Will Hunting Gus Van Sant 1997 US 1st time An off-the-rails janitor who enjoys drinking and brawling with his friends is spotted by a scientist to have phenomenal mathematical talent, and is forced to see a shrink. A well-performed character study, fully absorbing throughout; if the script is at times schematic, it's certainly brilliantly realised, and Van Sant, Damon and Williams sweep us along with wonderful power.
I'm an ugly bag of mostly water born to be informed and the only one that knows me is Obi-Wan Kenobi.
The Asphalt Jungle (1950) First Viewing Directed by: John Huston Rating: [/i]
One of the quintisential noirs, this is simply put, the making and unmaking of an ingenious heist plan. The unmaking of it comes mainly from the charecters with their faults whether it be greed, drink, horses, broads. This is the type of study Huston is used to, seeing that Huston has an affinity for the making and unmaking of treasure hunts. Look to, "The Treasure of the Sierra Madre", "Beat the Devil" or, "The Maltese Falcon" for proof.
It's half-past twelve midday, and I've watched four films since going to bed last night.
Performance Nicolas Roeg/Donald Cammell 1970 GB 1st time A London gangster moves in with a retired rock musician. A complex blanket of identity and character-switching; it conjures up a sordid world of nastiness with hallucinatory ease, and gets better as it goes on.
Irréversible Irreversible Gaspar Noé 2002 France 3rd time When his girlfriend is raped at a party, a teacher and his friend hunt down the rapist at a gay nightclub. Unrelenting, uncompromising, and utterly brutal depiction of humanity and the evil hole from which it cannot escape.
Solaris Steven Soderbergh 2002 US 1st time A psychiatrist arrives at a space station orbiting a strange planet, where his past comes back to haunt and seduce him. A cool, detached film full of ideas and themes but not really committing itself fully to exploring them; if the content could have been meatier, the form is fine indeed, and it must be respected as a film which bares little overall resemblance to Tarkovsky's.
Scanners David Cronenberg 1980 US 1st time Telepathic humans, known as "Scanners" are employed by rival corporations to fish one another out. Save for a few head-bursting special effects and interesting surface concept, this sci-fi action film has dated horribly; mise-en-scene, dialogue and acting let it down.