A film crew working on a creature flick finds themselves pursued by real creature and must fight to survive. The film stars directed by Glenn Plummer, who is a solid actor with a proven track record (Pasttime, The Corner, Things to Do In Denver When You're Dead, South Central,), but this is as poorly a directed film as Plummer himself has helmed (VooDoo Curse: The Giddah, 7 Deadly Sins failed to garner a rating higher than 2.6). Plummer must be on the outs with Hollywood's bigwig directors and now has been confined to "the goony leagues" of film actors, where actors' careers go to take their final breath. This film has it all-all bad, that is: Third-rate cinematography, f/x, acting, writing, pacing... sheesh. Director J. Horton has the nerve to flaunt to the world that this version is the Director's cut. At least he had sense enough not to use his full name, though he might've been better off passing this off as an Alan Smithee joint. This is 96 minutes of raw, fecal-scented sewage. If this were graded on an A-F scale this film would've earned a G-rating, and not because its palatable to General audiences.
Reviews
34 Reviews
If I Can't
(2023)
More Black Trauma Played Out As Normal
8 July 2023
Gee, I didn't know black people were so oversexed and that every other word they use is profane. Wait... they aren't and they don't. But here they do. If you take out the profanity and gratuitous sex scenes you'd have a Tyler Perry film (sans Pollyannish ending). I don't know which is worse. That same ol' trope-abused and illogical sista has to fight her way through her personal crisis and her sadistic so-called "lover," blah-blah-blah. This film has it all-slaps, interchangeability between the b-word and the h-word, and a graphic rape scene. Monroe (who also wrote and directed) is Harlem, a widow whose husband was shot to death during a robbery. Now looking for new love, she meets Scott Da Rock (Fazekas) and after his charm offensive she falls for him. He's a hound and an abuser. This film is full of plot holes and is downright horrible. Is this what passes for a chick flick nowdays? Some reviewers must either be enamored with seeing black faces on-screen, or seeing black people on screen conforming to the worst stereotypes. Otherwise, how this got a 7.5 baffles me.
Triangle of Sadness
(2022)
'Triangle' Serves up Serious Food for Thought
4 February 2023
Triangle of Sadness" is "The Menu" meets "A Midsummer Night's Sex Comedy."Here we find the nebbish Carl (Dickinson) and self-centered Yaya (Dean), celebrity models who date only because Carla desires the publicity, succumbing to her every whim. Their coupling generates so much notoriety that a fan offers them a spot on a celebrity cruise. They are joined by an odd lot of passengers that include a Russian Oligarch (Burie) and a tech exec (Dorsin) who has his eye on Yaya. After a series of disasters at sea, including a pirate attack that results in two killings, several of the passengers make it to what they assume is an abandoned island. Cleaning lady Abigail (DeLeon) uses her survival (gathering) skill for the betterment of all. It's a lesson in human dynamics, humility, and how capitalism is karma. The woefully inept wealthy are dependent on the poorest who must use their hustle game to save the lot of them.
Songbird
(II) (2020)
Only If This Is All That's On
11 January 2023
The year is 2024 and the world is being ravaged by Covid-23, a mutation so deadly it has forced the military to quarantine survivors. However, a few remain outside the Q-zones (Quarantine areas), and are forced to contend with vigilantes, the military and the disease itself. This includes Nico Price (Apa), and Sara Garcia (Carson). Army vet Michael Dozer (Hauser) is a drone operator who tracks the stragglers. When Sara's apartment sees an increase in infections, Nico must protect her from being seized by ""the Department of Sanitation." There's nothing new here or exciting. Robinson's role as Lester, one who delivers packages to the wealthy is an insignificant one (he was the reason why I purchased the DVDt). Not nearly as attention-grabbing as contagion, but not as ridiculous as Cabin Fever, All in all a vanilla story with few surprises, but slightly better than its IMDb score suggests.
Me Time
(2022)
This Film Has Adam Sandler Vibes; Not a Good Thing
26 August 2022
This film reminds me so much of one of Adam Sandler's mediocre films. The premise is Sonny Fisher (Hart), a househusband, gets time off to hang out with an old friend (Wahlberg) for a good time. From here the film becomes a predictable mess as Fisher's attempts at fun constantly get him into dangerous predicaments. We are subject to the usual Hart screeching and shouting his dialogue ad nauseum. Wahlberg's character is a lot like the controversial SNL spoof of him. Meanwhile we hardly see the wife (Hall) who is spending time with the kids whom she rarely sees due to her busy schedule as an architect. It's as if Hall is trying to steer clear of the residual shame of being in such an unfunny film; one so bad it's like the Hart and Wahlberg showed up for shooting without first reading the script.
Echoes
(I) (2014)
Echoes Fails to Register a Single Fright
11 August 2022
Interesting premise, poor execution. Anna Parker (French) is a writer who is at the mercy of sleep paralysis that brings about frightening visions. On the advice of her boyfriend Paul (Brand) she takes a trip to a house in the desert, where her visions become more "frightening." In actuality, there are no scares here, just a series of scenes that move at a tortoise's pace and does nothing to hold the viewer's attention. You'd get more frights from a rerun of "Pee-Wee's Playhouse." This is a Netflix film, and the quality of that service has become mediocre at best, and just think: these are the folks who knocked Blockbuster out of the game.
Girl in the Basement
(2021)
Thee Are Better Ways to Waste Your Time
7 March 2022
The Girl in the Basement had been played up on social media as a message movie about parental sexual abuse. The plot: A teenage girl, whose father thinks she has wayward tendencies, plans to leave home before turning 18. After overhearing the girl tell her mother she plans to run off at 18 to get away from him, dad has other ideas and imprisons her in the basement. Eventually we discover that daddy wants his daughter to wife. What follows is a plot so absurd, even Ed Wood would have dissed it. It could have been a great film, one that speaks volumes about how men terrorize and abuse their daughters under the guise of "love," but there are plot holes galore. I won't drop any spoilers, but the promise of a teachable moment devolves into an illogical mess.
Willow Creek
(2013)
Now THIS is a Hidden Gem!
18 October 2021
Bobcat Goldwaith is underrated as a director. Usually his films have some strong social commentary with a pinch of sardonic seasoning. Willow Creek is an early film of the horror genre, which is a bot surprising. Its not your typical dumb-city-slickers-trapped-in-the-woods film. Alexie Gilmore is Kelly, a wannabe commercial actress and Bryce Johnson is a filmmaker tracing the route of the one man who supposedly came face-to-face with Big Foot and got footage of it. The two traverse the Trinity National Forest, unarmed and ill-prepared psychologically for what they encounter. The best part is, the audience is equally unprepped. Goldwaith shows a deft hand at blending shadow and audio to create scenes that during the last thirty minutes will have you constantly flinching. Far better than its 5.1 IMDb rating suggests.
American Skin
(2019)
American Skin Conjures Up Images of Christopher Dorner
3 February 2021
Nate Parker has written and directed a thought-provoking piece that tears the scab of police relations with the members of the black community. Omari Hardwick is Omar Scott, a former Marine who bears witness to the shooting death of his unarmed son by a white police officer, who is later cleared of charges by a grand jury. Feeling helpless, the father goes after the officer who did the shooting, with the intent to carry out his own idea of justice. The film's message touches on the steep price black folks have to pay to right a wrong. It also conjures up memories of real life-former military man Christopher Dorner, with his message of "If we want justice, we have to shoot back." The film tenor of the film will no doubt be off-putting to many white viewers, especially in the aftermath of a bevy of killings of black men by white officers. It has an incendiary quality, but it is offset by an ending that in my mind comes off as studio contrived. Still I suggest you check it out.
Boxing Helena
(1993)
Boxing Helen Interesting, But Not Great
19 January 2021
Saw this when it first came out in 1993, when Sherilyn Fenn was the "It" girl. I only wanted to see it because it was directed by David Lynch's daughter and I wanted to see if she was as quirky as her legendary filmmaker dad. The first viewing made me think how great a Vincent Price vehicle this could have been. Like her father, Jennifer Lynch takes us on an eerie trip about obsession and control. Fenn is Helena, the one-time lover and object of a surgeon's (sands) affection. After an accident, he takes her to his house and amputates her limbs, then places her in a box and keeps her as his possession. Sands is subtly creepy and the film has a lot of psychological dynamics and is not as bad as its IMDb score suggests. This is a film you want to see when you're looking for something 180-degrees from run-of-the-mill.
The Oath
(2018)
An Underrated Gem That Hits the Mark
21 September 2020
Far better than its 5.4 rating suggests, The Oath is a film that will leave you satisfied by its take on political partisanship. Ike Barinholtz directs and stars in this comedy that has a fair share of laughs commingled around enough tense moments to keep you riveted. It's funny in a Wag the Dog kind of way: clever and well-paced.
Husband and wife Chris and Kai (Barinholtz and Haddish) are reluctant to abide by a government regulated loyalty oath that must be signed by all Americans before Black Friday. When C and K refuse to sign, federal agents arrive at their home and the couple engages in a physical confrontation with them that jeopardizes their children and in-laws.
Barinholtz plays the snarly liberal Chris, who has no filter--much to the annoyance of his family. His wife Kai, played in a subdued (for her) manner by Haddish, is the voice of reason and the only person who can manage Chris's outbursts. The rest of the characters are a combination of conservatives or older slightly out of touch in-laws, all of whom help give the story its umph.
This could have been made as a straight-thriller. Instead it is part thriller with a heaping helping of outlandish moments, especially as far as Barinholtz and Haddish are concerned. Don't understand why this film isn't rated higher. Bravo, Mr. Barinholtz for bringing to life one of the smartest comedies in years.
Get on Up
(2014)
James and His Flames Deserved Better
10 January 2020
Just watched "Get On Up." I thought it fluctuated from serious drama to camp too often, especially with the talking into the camera. What for? I wasn't feeling it, especially with no references to Fred Wesley or Bernie Worrell, key architects of the James Brown sound, and little acknowledgement of Pee Wee Ellis. Bobby Byrd came off as a sycophant rather than an equally talented cohort. There was no reference to the potency of "I'm Black and I'm Proud" and only brief mention of his struggles between his conservative views and being considered by the more militant brothers in the movement as ab Uncle Tom. All this despite songs like "I Don't Want Nobody to Give Me Nothing," "King Heroin" and "Don 't Be A Dropout." In short, the Mick Jagger produced "Mr. Dynamite: The Rise of James Brown" (a documentary) got it right *as it should have). Oddly enough this film was also produced by Jagger. The music scenes in GOU were kicking and Viola Davis, as always, kicked ass, Chadwick Boseman was limited by a limp script. Overall I give it a C.
Enemy
(2013)
A Clever Movie That Pays Off In spades
21 November 2019
This movie is just a shade off being a "9." Jake Gyhllenhaal in two roles (Adam/Anthony) as men with no biological link but with identical physicality. Adam discovers his doppelganger (Anthony) in a movie and becomes obsessed with meeting him face to face. After frightening Adam's wife with a mysterious phone call and coming off as a stalker, the two meet in an isolated motel room and discover that they also sound alike and even share birthmarks and fingerprints. Adam now regrets ever having met Anthony, and even moreso after they strike a bizarre bargain with him.
The movie plods along, but picks up steam at the halfway mark. It ends swiftly and with a flourish; an ending so shocking that no one will see coming. Guaranteed.
American Son
(2019)
Sends A Powerful Message... and that Message Is STAY AWAY!
2 November 2019
This is one of the worst films I've seen in the last five years. While the premise is what caught my eye, stilted dialogue, cookie cutter characters, stereotypes and the most unbelievable goings make this movie one to ignore. Kerry Washington offers nothing, and the fact the couple is estranged makes you wonder how the hell two such disparate personalities ever made it past a first date, let alone a trip to the altar. As a couple they make Al and Peg Bundy look like the Obamas. This film doesn't make a social statement for positivity, but is more like a rationale for white police officer aggression. In my view that 5.2 IMDb score is very generous.
Fractured
(I) (2019)
A Better Film Than Its Rating Suggests
22 October 2019
Brad Anderson leaves us spellbound as he tears a page from the Hitchcockian text and brings us this underrated thriller. This is a Netflix movie and is far better than its usual in-house fare. Ray and Joanne Monroe (Worthington and Rabe) are a couple whose six-year-old daughter fractures her arm in an accident near an area construction. After checking their daughter into the ER, Ray falls asleep and wakens to find his wife daughter missing. Making matters more mysterious, there is no record of the daughter ever being checked in and the nurses and doctors tell authorities that Ray had checked himself in to be treated for a head wound.
In most cases this would have been time to fall back on cliches and predictable obstacles, but Anderson takes us through a labyrinth of red herrings to keep viewers on the edge of their seats. Worthington shines as the desperate and assumed deluded father.
The ending fulfills all the requirements for a twist with an exclamation point. Kudos to Mr. Anderson and company, and writer Alan B. McElroy.
In the Shadow of the Moon
(2019)
Definitely Appeals to Action Fans
8 October 2019
If you like action, this one will definitely sate your appetite. There's not a wasted scene in this thriller that pits Philadelphia detective Thomas Lockhart (Holbrook) against a serial killer who doesn't match the usual profile. This killer is black and female(Cleopatra Coleman). More harrowing is the fact she doesn't kill in typical fashion.
Director Jim Mickle manages the right tempo as Lockhart's pursuit segues from a serial killer investigation to a matter with a supernatural twist. Joining him on the case is sidekick Maddox (Bokeen Woodbine). Woodbine, per his custom, plays Maddox with a subdued believability. Their ensuing chase of the killer leaves their boss (and Lockhart's brother-in-law, played by Michael C. Hall) doubtful of his sanity.
In the Shadow of the Moon keeps you rapt until its gut-wrenching climax. Too bad it was a straight to TV movie, for it definitely merited better treatment than the plethora of bad horror films that keep finding their way into theaters.
Director Jim Mickle manages the right tempo as Lockhart's pursuit segues from a serial killer investigation to a matter with a supernatural twist. Joining him on the case is sidekick Maddox (Bokeen Woodbine). Woodbine, per his custom, plays Maddox with a subdued believability. Their ensuing chase of the killer leaves their boss (and Lockhart's brother-in-law, played by Michael C. Hall) doubtful of his sanity.
In the Shadow of the Moon keeps you rapt until its gut-wrenching climax. Too bad it was a straight to TV movie, for it definitely merited better treatment than the plethora of bad horror films that keep finding their way into theaters.
American Factory
(2019)
American Factory Is Something of a Horror Film
7 October 2019
If you worry about the ill effects of the world economy, you needn't look no further than America's heartland. Once lucrative auto industry jobs are vanishing and those that remain either have undergone a slash in wages, have made job-combining an unfair reality, or workers are replaced by technology. American factory hammers home these points, while also exploring the difficult cultural aspects of international mergers.
Barack and Michelle Obama produced this documentary about a Chinese businessman who reshutters an old General Motors plant (Fuyao) that hires more than 2,000 workers in the auto glass industry. Even with interpreters on both sides, there are some communication mishaps, but there is an undercurrent of stereotyping on both sides. American workers are seen as "lazy" because they accept weekends off and "only" work 8 hours a day. Americans view their Chinese counterparts as overly ambitious and place too much emphasis on rah-rah activities, like showing children singing via the company's closed circuit TV.
The major problem is with the plant being non-union, meaning jobs that once paid $29 an hour now pay a sustenance wage of $12.84. There is major push-back against those wanting to unionize, in particular from Chinese execs who have banned union organizers from the premises. There is also an examination of the friction between those who place emphasis on meeting production quotas and those focused on quality control. Safety is also an issue and is something the Chinese seem lax about.
The theme of the film is, yes-this is the future: stagnating wages, more multinational commingling, and the ever-looming threat of machines replacing people. Imagine that.
Barack and Michelle Obama produced this documentary about a Chinese businessman who reshutters an old General Motors plant (Fuyao) that hires more than 2,000 workers in the auto glass industry. Even with interpreters on both sides, there are some communication mishaps, but there is an undercurrent of stereotyping on both sides. American workers are seen as "lazy" because they accept weekends off and "only" work 8 hours a day. Americans view their Chinese counterparts as overly ambitious and place too much emphasis on rah-rah activities, like showing children singing via the company's closed circuit TV.
The major problem is with the plant being non-union, meaning jobs that once paid $29 an hour now pay a sustenance wage of $12.84. There is major push-back against those wanting to unionize, in particular from Chinese execs who have banned union organizers from the premises. There is also an examination of the friction between those who place emphasis on meeting production quotas and those focused on quality control. Safety is also an issue and is something the Chinese seem lax about.
The theme of the film is, yes-this is the future: stagnating wages, more multinational commingling, and the ever-looming threat of machines replacing people. Imagine that.
The Screaming Skull
(1958)
A Classic Scare Film
20 February 2019
I remember the first time I saw this film was on Bob Wilkins' Creature Feature (SF Bay Area, late 60s-late 70s). It scared me, and was part of a double feature that featured "Burn Witch, Burn." That is the reason why I recently bought those two films. They represent a time when movies didn't need buckets of red-dye-karo-syrup blood, but shadow, a creepy soundtrack, and a little imagination.
I was surprised to see how lowly this film was rated, being that it has a coherent storyline and a decent number of scary (for their time) scenes. It speaks to viewers to remind them that a good scare, and wquality storytelling don't have to be underscored by gore.
Til Death Do Us Part
(II) (2017)
Brazen Thievery With Horrific Results
17 August 2018
Yes, there is a dearth of originality in Hollywood, but I certainly didn't think it was THIS bad. If this was intended to be a black version of "Sleeping With the Enemy," and it appears it was, then the writer, director and actors failed miserably; in fact, the director should have kept his dignity intact and attached the Alan Smithee moniker to this monstrosity of a movie.
Some scenes from Sleeping are blatant ripoffs with perhaps a touch of role reversal. So this begs the question, "Do the people who produced this have ANY scruples?" Surely they saw Sleeping and noticed the string of copycat scenes--or are we the viewer to assume those ripoff takes are an eerie string of coincidences?
Moreover, there are plot holes galore and the few that the writer does try and fill only underscore the poor writing. In the end you hate all the characters for the lack of depth. There is so much predictability here that you might as well break out the Julia Roberts/Patrick Bergen original. Far more tension and superior acting.
Different Flowers
(2017)
A Muddled Film To Say the Least..
22 July 2018
I watched this film because I found the story of a young woman, jilting her beau and going on a journey of self-discovery--with her flamboyant sister no less--would present interesting conflict. If this was a vanity project for Shelley Long, she needs a long look in the mirror, because instead of a worthwhile story, what the viewer gets is a formulaic, meandering 99 minutes that ends predictably, but could have been so much better with a few tweaks.
The problem is underscored by the movies ending, when Millie--the runaway bride--has her epiphany, which comes with such a suddenness that it seems as if the writer centered the entire premise around that one scene.
Two, the grandmotherly advice given (Shelly Long) at the end would have better served both Millie and Ellen (her sister) had it been imparted before the sisters hit the road; in this way, it would have given a believable reason for the sisters' on-the-road conflict.
However, the film does offer two solid performances by the sister, played by Emman Bell (whom viewers might remember as Amy Harrison on The Walking Dead) and Hope Lauren. But Long comes up short as the sage grandmother, and the men are cookie-cutter softies and horn dogs whose presence is largely irrelevant.
In short, the film comes off as out of sequence and a waste of time unless you literally have nothing better to do than waste an hour and a half.
Contracted
(2013)
This Deserves Better Than a 5.3 Rating
2 September 2017
Most times when you see a horror film with excessive blood and gore, that tends to be its only strong point. But in Contracted, the f/x add to what is an intriguing story, centered on a young woman whose one night of carelessness leads to extraordinary consequences. This is a film stronger than its rating suggests. In an era of slack servings concerning horror, this one offers a heaping helping of plot, pacing, and performance. Najarra Townsend heads the no-name cast, and while she has been in numerous films, none of them was a star- turning vehicle. This one won't put her on the A-list, but her portrayal of the panicked young women is solid. The film is well-paced, will keep you locked in, and presents an ending that not only sewed things up nicely and left wiggle room for the sequel. For fans of horror, who don't mind some liberal bloodshed, I recommend this one.
10 to Midnight
(1983)
It's Charles Bronson With A Gun... Ho-Hum
4 June 2017
Few actors have been typecast to the extent Charles Bronson has. He was moviedom's knight in shining (but dented) armor; a pseudo-chivalric gunslinger who killed for sport, and was the personification of noble cause corruption, all under the guise of protecting womanhood. From Paul Kersey (the Death Wish films) and Charlie Congers (Love and Bullets) to Jack Murphy (Murphy's Law), Bronson's squinty-eyed machismo was second only to that of Clint Eastwood.
In 10 to Midnight Bronson plays the same ol' vigilante (Leo Kessler), who this time must protect his daughter and her college coed friends from a serial killer. This film, however, does not feature an avalanche of killing and is deeper on plot than any of his later Death Wish films.
At best, 10 to Midnight is a guilty pleasure. At worst, it is a cinematic cliché that men never grow tired of.
In 10 to Midnight Bronson plays the same ol' vigilante (Leo Kessler), who this time must protect his daughter and her college coed friends from a serial killer. This film, however, does not feature an avalanche of killing and is deeper on plot than any of his later Death Wish films.
At best, 10 to Midnight is a guilty pleasure. At worst, it is a cinematic cliché that men never grow tired of.
Open Water
(2003)
A Nice LittleDiscovery
3 June 2017
I tuned into this at 1 a.m.in the morning, desperate to watch something that would hold my interest, and this turned out to be worth it. I wasn't expecting Jaws, nor did I get anything remotely similar, but it is on equal footing with "The Shallows"--another stranded-at-sea-in-the -midst- of -sharks film.
By no means predictable, the film seemed intentionally truncated (only 1 hr.20min.) to keep from dragging. But there is enough tension built to keep you leaning forward in anticipation, and no "danger approaches music" to hype the scene.
The ending delivers the goods and carries over into the credits. Overall, a good effort.
By no means predictable, the film seemed intentionally truncated (only 1 hr.20min.) to keep from dragging. But there is enough tension built to keep you leaning forward in anticipation, and no "danger approaches music" to hype the scene.
The ending delivers the goods and carries over into the credits. Overall, a good effort.
Fences
(2016)
A Cinematic Trifecta of Writing, Acting and Direction
6 April 2017
It is the 1950s and middle class laborer Troy Maxson (Washington) struggles to raise his family, and despite having the support of a loving wife, Rose, (Davis), he must come to grips with the reality of his meandering life. This includes a baseball career that failed to pan out, a difficult relationship with a son from a previous marriage, and a back and forth with another son (Adepo) tired of living under his thumb. But a slip-up by Troy causes marital difficulty and he and Rose's love is put to the test. Both Washington and Davis are their usual brilliant selves, and it was a travesty that Washington did not win the Best Actor Oscar, but it is Henderson who subtly steals scenes as Troy's co-worker, alter-ego, and drinking buddy, Bono.
Take This Waltz
(2011)
A Gem from Sarah Polley
31 March 2017
Warning: Spoilers
In Take This Waltz, a young wife—Margot (Nichelle Williams) is forced into a moral dilemma. She must choose between remaining in her staid and predictable marriage to Lou (Seth Rogen), a bland fellow who lacks a communicative spark, or going outside her marriage for the allure of the silver tongued Daniel (Luke Kirby), who lives across the street. Luke is aware of her desire for meaningful repartee and begins a slow, but subtle seduction, played out skillfully by writer/director Sarah Polley.
Because Lou is more attentive to his work as a chef, rather than his marriage, the viewer ponders whether Margot makes the right decision by exploring what Daniel has to offer. Conflict arises as her quandary centers on the conflict between remaining devoted to her husband Lou, an aspiring cook and author, and fulfilling her need for personal growth and mental stimulation.
The opposing view, presented by Margot's alcoholic sister-in-law Geraldine (Sarah Silverman, in a noteworthy performance) is that Margot has a duty to eschew temptation. "You think everything can be worked out if you just make the right move? That must be thrilling," Geraldine warns. "Life has a gap in it. It just does. You don't go crazy trying to fill it like some lunatic."
Daniel is artistic, a rapscallion with a poet's heart. During their first conversation she is able to reveal her vulnerabilities. With such revelation comes unspoken intimacy, and initially Margot tries to put a lid on her feelings. However, Daniel represents something new, the possibility of escaping a relationship of ennui, like so many of her friends.
While Margot loves her husband, and while he professes his love for her, something is missing. Margot is not secretive about how she feels, and on the night the two celebrate their anniversary, Margot trieds to get Lou to converse with her. After an awkward silence, Lou admits that he doesn't see the allure of talking for talking's sake. His words sting, but Margot toughs it out through the dinner; but does that mean she has to do the same with her mundane marriage?
Daniel articulates his feelings for Margot in a poetic, but x0rated manner, which blows her away and is more than Lou will even attempt. At that moment she discovers Daniel can give her what Lou cannot, but can it be prolonged? Driven by a need to create her own happiness without hurting her husband, Margot navigates a fine line between flirting and cheating.
She makes another attempt to express her feelings to Lou, but he is befuddled by her request, and asks and boils his life down into one sentence: "I'm just making chicken." Margot replies, "You're always just making chicken."
Margot's decision is an emotional one rather than moral. It pleases her to see that Lou has launched a successful career as a cookbook author, but her relationship with Daniel hits a lull, symbolized by a telling bathroom scene and the use of Bruce Woolley and the Camera Club's Video Killed the Radio Star.
Still, Margot is happy for having stepped outside her drab life with Lou to experience new pleasures with Daniel. In the end, she discovers the truth in her friend's words, "even new things get old."
If one defines wisdom as the ability to decide what is the best decision and then acting accordingly, then Margot makes the wise and correct decision, damn the consequences.
Because Lou is more attentive to his work as a chef, rather than his marriage, the viewer ponders whether Margot makes the right decision by exploring what Daniel has to offer. Conflict arises as her quandary centers on the conflict between remaining devoted to her husband Lou, an aspiring cook and author, and fulfilling her need for personal growth and mental stimulation.
The opposing view, presented by Margot's alcoholic sister-in-law Geraldine (Sarah Silverman, in a noteworthy performance) is that Margot has a duty to eschew temptation. "You think everything can be worked out if you just make the right move? That must be thrilling," Geraldine warns. "Life has a gap in it. It just does. You don't go crazy trying to fill it like some lunatic."
Daniel is artistic, a rapscallion with a poet's heart. During their first conversation she is able to reveal her vulnerabilities. With such revelation comes unspoken intimacy, and initially Margot tries to put a lid on her feelings. However, Daniel represents something new, the possibility of escaping a relationship of ennui, like so many of her friends.
While Margot loves her husband, and while he professes his love for her, something is missing. Margot is not secretive about how she feels, and on the night the two celebrate their anniversary, Margot trieds to get Lou to converse with her. After an awkward silence, Lou admits that he doesn't see the allure of talking for talking's sake. His words sting, but Margot toughs it out through the dinner; but does that mean she has to do the same with her mundane marriage?
Daniel articulates his feelings for Margot in a poetic, but x0rated manner, which blows her away and is more than Lou will even attempt. At that moment she discovers Daniel can give her what Lou cannot, but can it be prolonged? Driven by a need to create her own happiness without hurting her husband, Margot navigates a fine line between flirting and cheating.
She makes another attempt to express her feelings to Lou, but he is befuddled by her request, and asks and boils his life down into one sentence: "I'm just making chicken." Margot replies, "You're always just making chicken."
Margot's decision is an emotional one rather than moral. It pleases her to see that Lou has launched a successful career as a cookbook author, but her relationship with Daniel hits a lull, symbolized by a telling bathroom scene and the use of Bruce Woolley and the Camera Club's Video Killed the Radio Star.
Still, Margot is happy for having stepped outside her drab life with Lou to experience new pleasures with Daniel. In the end, she discovers the truth in her friend's words, "even new things get old."
If one defines wisdom as the ability to decide what is the best decision and then acting accordingly, then Margot makes the wise and correct decision, damn the consequences.
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