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While not on the same lengths as Cronenberg’s latest foray, A History of Violence, Atom Egoyan pulls off a decent Canadian feature with this film, and heightens it with a expansive acting talent of Colin Firth and the man who knows everyone and one of my personal common actors (and pincushions), Kevin Bacon.
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While the storyline becomes a tiny convoluted half-way through, the performances and presentation of the film sustain up throughout. The dual narration is annoying at first, but becomes acceptable after a few minutes. The presentation of the 1950s settings, and the 1970s settings were done well. While some of the costumes are off in some areas, in others, they are spot-on. It makes you wonder why Oscar skipped over the film (until you scrutinize it all, and then realize why) . Alison Lohman is alright here, but she was mighty better in Matchstick Men, if for only the fact that she looks to young for her contain advantageous (and after the things she does, and has done to her in this film, she looks map too young for her bear edifying) . For this reason, she has a really hard time carrying the film, and has an even harder time acting against Firth and Bacon. Rachel Blanchard is sadly underused, as is Firth, but the rest of the supporting cast has fair enough time needed to stretch.
The film’s graphic nude and sex scenes are up to par with Cronenberg, and gain an animated comparison. Were they really attempting to compete, or was it fair a subtle irony that both of the films came out over a year ago, and had their first screenings at Cannes? In the demolish, the whole thing sadly objective looks very cramped in comparison to Violence, and that’s the poor thing because they were fair destined to be compared.
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I know that the NC-17 rating of the film made a substantial scandal and controversy among fans. While most of the time the rating is all a bunch of bull, quite often movies that lack in the fable, acting or budget do up for it in explicit sex scenes (which is what got this film its rating), language or gore, and the spot gets lost somewhere in between all these distractions. I screech it is all personal taste, and different people adore or dislike this movie for various reasons. To me, it is a combination of reasons. The only “REALLY” splendid thing about it was the cast, and as mighty as I like the actors, they were not enough to set aside it. But, the film is done averagely well, and deserves a discover.
From the two main leads, I had hoped this film would be sterling. Unfortunately, it was only captivating in fits and starts. To launch with, Colin Firth was badly miscast and played his allotment almost as if sleepwalking. I could procure no insight into the man or his motivations. Kevin Bacon was better–and the best piece of the movie although not up to his top gain. His portrayal of the sleazy Lannie was relatively convincing but he got very puny relieve from the area or his co-cast members. And Alison Lohman, I’m sorry, was stunning poor. For someone playing a supposedly junior hot-shot reporter, she was not only slack-jawed and naive appearing, but also irritating. In addition, the position had her swinging from doe-eyed and innocent admirer to wanton sexual playmate without an iota of believability or back-up character development. The storytelling technique of voice-overs and flashbacks can be effective but in this case I found it primarily confusing and distracting. Overall, what could have been a well-done neo-noir mystery with lively twists and turns seemed merely muddy and offputting.
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