One Battle After Another

Movie Name: One Battle After Another
Year of Release: 2025
Director: Paul Thomas Anderson
Starring: Leonardo DiCaprio, Sean Penn, Benicio Del Toro, Regina Hall, Teyana Taylor, Chase Infiniti, Tony Goldwyn, Wood Harris, Alana Haim, Shayna McHayle, Starletta DuPois, Eric Schweig, Kevin Tighe, James Downey, D.W. Moffett, James Raterman, Jason Belford, Dan Chariton, Sherron Gassoway, April Grace, Ted McCarthy
Score out of ten (whole numbers only): 8
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Synopsis and Review

After the nostalgic "Licorice Pizza", writer/producer/director Paul Thomas Anderson has returned. This time around the film follows the story of Pat Calhoun, whom we first encounter as part of a revolutionary group known as the French 75. They break out detained immigrants from detention centers, they attack politicians' offices, attack power grids. He eventually falls in love with one of the movement's leaders, Perfidia Beverly Hills. Perfidia in one of their interventions comes across Steven Lockjaw, a commanding officer who gets sexually turned on by her authority. He starts pursuing the group, Perfidia in particular, and eventually catches up with them. He agrees to let her go after a sexual tryst. Perfidia eventually gives birth to a baby girl, Charlene, but refuses to abide to a sanitized family life with Pat, and leaves them both. She's eventually captured and in order to avoid jail time, rats everyone in the movement. She goes into the witness protection program, but eventually leaves and flees to Mexico. In the meantime Pat and Charlene also escape, and start new lives in the Baktan Cross area as Bob and Willa Ferguson. Sixteen years go by, and Lockjaw is now aiming to join a secretive club named Christmas Adventurers Club, one that thoroughly analyzes his background, including if he ever engaged in interracial relationships. He lies, though he starts looking for Willa, eventually dispatching troops to the Baktan Cross area under the guise of an immigration and drug enforcement operation. Willa is saved by one of the underground members of the French 75, while Bob barely escapes his house using a tunnel. They both set off to hide, while Bob is desperately trying to get Willa back, even though his perpetual drugged state doesn't help. 

"One Battle After Another" is loosely based on Thomas Pynchon's "Vineland", but Paul Thomas Anderson brought the themes and context of the novel to our current day, and it's pretty much a perfect fit for what we're currently going through. It still feels very much like a portmanteau of the lives of different characters, intersecting with each other, something he explored so well in "Boogie Nights" and "Magnolia", but in this case, all through this common thread of these characters who have been united by this revolutionary movement, and by those trying to suppress it. While the film is being advertised and sold as an "action film", at its core is still very much a Paul Thomas Anderson feature, one where characters are on collision courses with each other, revealing more of themselves and of others, as a result of those interactions. There's elements of humor, elements of terror (what is being illustrated is not science fiction), but the director manages to bring all these elements together and makes them all work coherently. There are characters in the film that did deserve some additional screen time and more dimension, but the film manages to make its point across quite vividly, navigating a tone that is both satyrical and dramatic, making everyone look at what's happening in the world right now. The cast is uniformly fantastic, with Leonardo DiCaprio creating a fantastic deadbeat dad with hints from his Jordan Belfort (from "The Wolf of Wall Street"), with solid support from Sean Penn (though his character at some point becomes a caricature of itself, since it's played in the same note all the time), Benicio Del Toro, Regina Hall (who is fantastic), and the revelatory Chase Infinity. The production team is top notch as well, particularly Jonny Greenwood's score and Michael Bauman's cinematography. Another great film from one of the most consistent and talented film makers working these days. 

The Last Showgirl

Movie Name: The Last Showgirl
Year of Release: 2024
Director: Gia Coppola
Starring: Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Billie Lourd, Kiernan Shipka, Brenda Song, Jason Schwartzman, Linda Montana, Giovani L. DiCandilo
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

Gia Coppola has quietly been making a career for herself, joining the talented ranks of her family, which includes Francis Ford Coppola, Sofia Coppola, Nicolas Cage, Talia Shire, Jason and Robert Schwartzman. "The Last Showgirl" follows the story of Shelly, a showgirl who has worked for three decades at a venue called Le Razzle Dazzle in Last Vegas. She has a few younger friends in the ensemble, Mary-Anne and Jodie, who view her as a mother figure. Shelly's best friend is Annette, a pior showgirl herself who now works at the casino as a cocktail waitress. Shelly's world is thrown upside down when Eddie, the stage manager for the show, lets the cast know that Le Razzle Dazzle is going to close down its doors, and is going to be replaced by a more contemporary type of entertainment. While Mary-Anne and Jodie start auditioning for other shows in town, Shelly views those shows as low class, though she fears for her future and livelihood. She also reaches out to her daughter Hannah, who lives out of town and is going to college. She's been raised by family friends, and their relationship has been strained (since Shelly preferred to focus on her career while Hannah was raised by other people). While attempting to have a special moment with Eddie, the conversation quickly escalates to a series of recriminations on both parts, his towards her for not raising Hannah, and hers towards him for being a father that never acknowledged Hannah and has never been a presence in her life. As Shelly tries to figure out options for what comes next, the challenges just keep piling on. 

While watching this film I had this odd feeling that this universe and what was being captured here had some similarities with the work from another writer/director, and then it dawned on me the talent I was thinking of: Sean Baker. "The Last Showgirl" reminded me of certain aspects of "Tangerine", "The Florida Project", and even "Red Rocket", though the work of Sean Baker has something going for it that I don't believe Gia Coppola has mastered just yet, namely authenticity. The narratives Sean Baker brought to life in the previously mentioned films felt very lived in and pulsating with life. "The Last Showgirl" feels more like someone's superficial exercise on what the last chapter of someone's once glamorous life is about to become. A bit like someone who is writing an article for a magazine, and who has to tag along the subject of the story for a few days. This story, authored by Kate Gersten, is not particularly revelatory, but it has enough substance to milk some ponderous questions from the central character, about her life ahead, but also about the choices that led her to where she is. What we end up getting instead, is a superficial view on someone who is confronting aging, her role in an industry that privileges youth, and past decisions that had an impact on her loved ones and her relationships, and all we get from that are long shots of Shelly looking to the Vegas horizon or smoking on the rooftop of a certain building. Gia Coppola doesn't seem to know how to illustrate the fear or terror that the character is going through, and decides to go with this atmospheric type of illustration, which works in Sofia Coppola's work, but not so much with this material (she should have looked at what Mike Figgis did in "Leaving Las Vegas" to capture a certain urgency and soul searching that happened there with Nicolas Cage and the luminous Elisabeth Shue). There are indeed sections of the film that work, namely Shelly's interactions with Eddie, and her relationship with Annette, but sadly they're not present as much as they should be. The cast is solid all around, with Jamie Lee Curtis, Dave Bautista, and Billie Lourd creating the most striking characters. Pamela Anderson does a good job, but the film and the director should have given her more room to go in directions that could have been darker, and more rewarding (both for the character and for the audience). The production team is solid, though not particularly remarkable. It's watchable, but not a very memorable feature. 

Cuando Acecha La Maldad/When Evil Lurks

Movie Name: Cuando Acecha La Maldad/When Evil Lurks
Year of Release: 2023
Director: Demian Rugna
Starring: Ezequiel Rodriguez, Demian Salomon, Silvina Sabater, Luis Ziembrowski, Marcelo Michinaux, Emilio Vodanovich, Virginia Garofalo, Paula Rubinsztein, Lucrecia Niron Talazac, Isabel Quinteros, Desiree Salgueiro, Federico Liss, Ricardo Velazquez, Jorge Prado, Diego Sampayo, Pedro Larrabide, Cleo Diaz, Agostina Aguilera
Genre: Horror
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Following the success of "Aterrados/Terrified", writer/director Demian Rugna returned with "Cuando Acecha La Maldad/When Evil Lurks", which premiered at the Toronto Film Festival in 2023. The film follows the story of two brothers, Pedro and Jaime, who live by themselves on a farm, rather isolated from everyone else. One morning they hear gunshots, and while tracing the sound, they eventually discover a corpse. As they try to understand what happened, they go to a nearby shack, where an elderly woman lives with her two sons. She explains that the corpse belongs to a "Cleaner", someone who had been sent to kill and exorcise one her sons, Uriel, who is being possessed by an unborn demon who is awaiting physical birth. Pedro decides to communicate with the authorities what is happening, but they dismiss his warnings. Ruiz, who is the landowner for the farms, is terrified, and decides with the help of the brothers to grab the infected Uriel, and drop the body far away from they are. However during their trip the body falls from the truck and they can't locate it. The following morning one of Ruiz's goats is possessed, and without thinking twice he shoots it, not realizing that it will only spread the possession further. Ruiz's wife also becomes possessed, killing him and then herself. Uriel's brother lets Pedro and Jaime know what has happened. The brothers decide to leave town, fearing the possession will affect everyone and spread further and further. They pick up their mother, and Pedro goes to Sabrina's, his ex-wife, to grab his children, and warn her and her new husband about leaving. They have a strained relationship, and as they argue, Sabrina's pet dog who has licked Pedro's contaminated clothes, becomes possessed, attacking Sabrina's daughter. As Leonardo (Sabrina's new husband), goes in pursuit of the dog, Pedro grabs a car and his two sons, in order to pick up Jaime and their mother and leave town. As they leave, they soon realize things are only going to get worse.

There's much to admire in Demian Rugna's "When Evil Lurks". It's a film that immerses us in rural Argentina, one where the characters feel vivid and authentic, particularly considering the fact they're facing a supernatural menace (hence the film being tagged in some websites as "folk horror"). The film brings to mind certain aspects of Guillermo del Toro's "El Espinazo del Diablo/The Devil's Backbone", since it balances a depiction of reality with events that are fantastical, but whereas Mr. del Toro usually goes for a gothic perspective on his films, Mr. Rugna opts to maintain a perspective that is deeply rooted in the locale, in the reality that his characters live in. The writer/director manages to efficiently position and describe the lead characters, with Pedro being the brother with a lot of emotional baggage, and a past that still haunts him, and his brother Jaime who supports and cherishes him as much as possible. As the situation escalates, and more and more characters are impacted by it, Demian Rugna manages to keep a fine balance between the despair of the characters who do not understand what is happening and the brutality of the supernatural occurrences that are taking place. It's a film that continuously surprises, much of it because of its unadorned approach (and its refusal to abide to the typical horror clichés), how it attempts and succeeds in marrying the realistic view of where these characters exist and also the brutally visceral aspects tied with the supernatural aspect of the narrative. The cast is solid, particularly Ezequiel Rodriguez, whose portrayal of Pedro really takes us on a journey of frustration, failure, and possible redemption. The production team is solid, particularly Mariano Suarez's cinematography and Laura Aguerrebehere's production & costume design. It's a film worth watching. 

Psycho Beach Party

Movie Name: Psycho Beach Party
Year of Release: 2000
Director: Robert Lee King
Starring: Lauren Ambrose, Nicholas Brendon, Thomas Gibson, Matt Keeslar, Beth Broderick, Amy Adams, Kathleen Robertson, Charles Busch, Kimberley Davies, Channon Roe, Nathan Bexton, Nick Cornish, Andrew Levitas, David Chokachi, Ruth Williamson, Nicholas D'Agosto
Score out of ten (whole numbers only): 5
Watch it on Tubi

Synopsis and Review

"Psycho Beach Party" originally started as a play in 1987, authored by Charles Busch (who has also written the screenplay and has one of the lead roles), and is in fact the feature directorial debut for Robert Lee King, after his prior experience with shorts and one of the segments of "Boys Life: Three Stories of Love, Lust, and Liberation". The film follows the story of Florence Forrest, a teenager who is determined to learn to surf and hang out with the young male surfers. The guys nickname her "Chicklet". Florence has a great relationship with her mom and best friend, but starts displaying multiple personalities, and experiences blackouts that she can't explain. A series of murders also start happening in her beachside town, and she questions if she's involved in those. In the meantime, the police, led by Captain Monica Stark, suspects Florence's mother may be involved in those crimes. 

"Psycho Beach Party" is an homage to the surfing movies of the 1960s, infused with a rather campy slasher ingredient, making the film a rather humorous concoction. Robert Lee King manages to illustrate the context and the various plot points the script sets in motion fairly well, mimicking some of the aspects that made the 60s surf films so iconic and memorable for audiences, but sadly doesn't fully embrace the motif, or for that matter, has a very strong stylistic point of view on the topic  (unlike what Peyton Reed did with "Down with Love" for instance). What does work about this film is the tongue in cheek aspect of the script authored by Charles Busch, with its gay references, the campy interactions between the characters, and the production design that is on display. Charles Busch clearly relishes creating these archetypes for the group of performers he has in place, and the cast goes along for the ride, which makes this film a harmless one to watch. It does borderline on a fun TV Movie of the week in some sections, but it's nonetheless well crafted and well acted. The cast, particularly the underrated Lauren Ambrose, Amy Adams, Kathleen Robertson, and Matt Keeslar are all highlights. The production design from Franco-Giacomo Carbone and the costumes from Camille Jumelle, are the highlights from the production team. The material needed a stronger directorial voice and a more defined stylistic point of view, but the film is still enjoyable and humorous. 

Lazy Susan

Movie Name: Lazy Susan
Year of Release: 2020
Director: Nick Peet
Starring: Sean Hayes, Margo Martindale, Carrie Aizley, Allison Janney, Jim Rash, Danny Johnson, Kiel Kennedy, Darlene Hunt, Madison Paige Ochoa, Matthew Broderick
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

"Lazy Susan" is director Nick Peet's feature directorial debut following a few short features. The film co-written by Sean Hayes, Darlene Hunt, and Carrie Aizley, follows the story of Susan, a woman in her 40s, who has been let go of her job, and who pays her bills by latching on to her very generous mother. Susan sleeps late, and is very content in selfishly looking out for herself, doing collages, and engaging on music rehearsals with her best friend Corrin. She's horrified to find out that her brother and his family are planning to take their mother to Niagara Falls to celebrate her birthday, but no one is paying for her ticket (in other words, if she wants to go, she has to pay for her own way). In the meantime, she starts a relationship with a man by the name of Phil, whom she casually meets at the gym, and who rear-ends her at a stop sign. Susan thinks the relationship is soaring, but suddenly realizes he's married, and has a new baby on the way. She also gets evicted, as she has consistently failed to pay the full rent. She comes to terms with the fact that she needs to sharply change her attitude and life.

The immensely talented Sean Hayes, whose company also produces this feature, is at the center of this film, portraying Susan as a woman who has steadily refused to grow up. Susan lives in a special bubble she created for herself, where everyone is a featured player in supporting her dreams and desires. Her family can't stand her selfishness anymore, and the only support she has is her friend Corrin, whom she eventually also disappoints. This tale of someone who is this hapless and has this lack of self-awareness could have been some seriously potent material in the hands of John Waters or even Todd Solondz, sadly Nick Peet's point of view is a rather generic one, that fizzles out all the insane episodes Susan goes through, even if Sean Hayes is all invested in bringing that character to life, no matter what the situation may be. Most of the problems with this film, aside from its low budget, come from this unwillingness from the director to crank up the volume a bit more, and truly bringing to life the situations Susan finds herself in. The supporting characters even in their limited scope and screen time are actually quite suggestive, including Allison Janney's Velvet, Matthew Broderick's Doug, and Danny Johnson's Leon. The cast is solid, including the funny and always underrated Jim Rash, while the production team is a bit uninspired. It's an interesting film, one with a great cast, that simply needed a stronger directorial point of view to make it more memorable. 

The Frighteners

Movie Name: The Frighteners
Year of Release: 1996
Director: Peter Jackson
Starring: Michael J. Fox, Trini Alvarado, Peter Dobson, John Astin, Jeffrey Combs, Dee Wallace Stone, Chi McBride, Jake Busey, Jim Fyfe, Troy Evans, Julianna McCarthy, R. Lee Ermey, Elizabeth Hawthorne, Angela Bloomfield, John Sumner
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

Before he embarked on the adaptations of J. R. Tolkien's books which made him a millionaire and a household name, Peter Jackson was a writer/director primarily well known for his fantastical films "Bad Taste", "Meet the Feebles", and "Dead Alive". He took a detour from the horror and supernatural genre with the well received "Heavenly Creatures", but went back to his previous genres with "The Frighteners". The film follows the story of Frank Bannister, a former successful architect, who suffered a traumatic past accident which resulted in the death of his wife, and who now makes a living as an exorcist of sorts. In reality he works with ghosts who stage the hauntings in the houses of unsuspecting people, so that he can come in, perform the exorcism, and reap the rewards. One of his clients turns out to be Dr. Lucy Lynskey and her husband Ray. While exorcising their home Frank notices the number 37 glowing on Ray's forehead. Ray passes away a few days later, and while helping Lucy communicate with her late husband, Frank notices another individual has the number 38 marked on his head. He's terrified to witness this Grim Reaper like entity killing the man who had the 38 mark, upon which he decides the entity. That supernatural angel of death keeps killing people, and Frank realizes that the murders that are taking place are implicating him. He decides to turn himself him, just as an unstable FBI agent joints the investigation, believing that he is indeed the killer of all these people, including his late wife. 

"The Frighteners" is one of those films of the 1990s that feels a bit orphaned, much like Kathryn Bigelow's "Strange Days" and Alex Proyas' "Dark City". All films from interesting directors, who at the time of their release struggled to find an audience, even if the films themselves had fairly good reviews, and solid casts. Of the three of those mentioned before, "The Frighteners" is possibly the most muted of all, and also the one that has aged a bit more poorly, primarily due to the quality of the visual effects themselves. Peter Jackson who later had a chance to develop his storytelling scope and techniques with "The Lord of the Rings" series, devised this original plot with his wife and co-writer Fran Walsh. Some of his habitual topics surface on this tale, namely the central figure who is apparently a normal individual, but who is haunted by a traumatic past, and also someone who has something unusual about himself, which renders him just a bit off kilter, resulting in that central figure being deemed eccentric or quasi an outcast. Frank Bannister embodies these traits, and he is a good host for all the events that occur throughout the narrative. He's a bit of charlatan with a heart of gold, someone who is a bit lost, but who means no harm to anyone. The film however has some tonal issues, which start with Peter Jackson revealing the ghosts too early in the story. They're introduced abruptly and in a manner that is a bit jarring, particularly because they come across as a loonier version of Dr. Emmett Brown from Robert Zemeckis' "Back to the Future" (Mr. Zemeckis was originally going to direct this film and stayed on as a producer). Peter Jackson doesn't build much of a context or environment for all these characters, before introducing this supernatural motif, that becomes an omni-present element for the remainder of the feature. The main characters take a back seat for all the supernatural noise that is happening, something that also takes away from the impact that those characters were building. There was a tone similar to David Lynch's "Twin Peaks" in some of the early scenes, with the police officers, but that is quickly pushed aside to pursue the supernatural conspiracy taking place. The tonal shifts, the over abundant (and borderline in poor taste) visual effects, and some of the acting (particularly the overacting from Jeffrey Combs), tilt the film in a rather mediocre direction. However the film does feature the always reliable Michael J. Fox, Trini Alvarado, Troy Evans, and John Astin doing solid work, even if the always lovely Dee Wallace Stone and Jake Busey are also, and much like Jeffrey Combs, overacting just a bit much. The score from Danny Elfman is a highlight, even if the rest of the production team is not. It's a watchable film, but one that needed a bit more restraint.

Mayhem

Movie Name: Mayhem
Year of Release: 2017
Director: Joe Lynch
Starring: Steven Yeun, Samara Weaving, Steven Brand, Caroline Chikezie, Kerry Fox, Dallas Roberts, Mark Frost, Claire Dellamar, André Eriksen, Nikola Kent, Lucy Chappell
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

"Mayhem" is Joe Lynch's follow up to "Everly", a "Colombiana" style film which featured Salma Hayek as the lead actress. The film focuses on the story of Derek Cho, a young man who has been diligently working at a massive consulting firm. He comes across a client by the name of Melanie Cross, who is desperately trying to retain ownership of her home, and Derek explains her options and how she can do so. When the tension escalates he asks security to escort her out. He realizes that a mess of a legal case has been pinned on him by his boss, Kara Powell, someone he considerably dislikes. The tension also escalates there and they decide to take the situation to the next level, the CEO of the company, John Towers. Derek is targeted as the fall guy for that messy situation, and is fired by Human Resources chief, Lester McGill. As he is about to be escorted out from the building, the building itself is placed under quarantine, as the virus ID-7 (a red eye virus which makes people fall prey to their darker instincts, including murder) has been detected inside. While a neutralizing agent has ben released in the building, it will take approximately eight hours for the virus to be decimated. Stuck inside the building, Derek decides to protest and get his job back, however he is taken to the basement to be beaten up by Towers' security team. Derek gets beaten, his friend Derek gets killed, and he eventually finds himself locked up with Melanie, who didn't make out of the building before the quarantine procedures. They eventually decide to work together, and start solving both their problems and eliminate anything that stands in their way, starting with Kara Powell. 

This film feels oddly prescient of the times we're currently living. At a time when most organizations are reaping more financial rewards at the cost of laying off more and more people, the events this film illustrates seem ironically relevant. The director smartly positions this film as a B-movie vehicle, though at times one can't help but think what someone like David Cronenberg could have done with this material in the 1980s. What this means is that we get barely defined characters, but these archetypes, including Derek's fall guy who is in reality a hard worker who had to climb the ladder with perseverance and talent, Melanie the client who is facing eviction, the villainous managerial staff, all of them are so finely embodied by these actors, one can't help but appreciate the over the top events that are taking place. The film is pretty straightforward on its premise, and very low on pretension: hard worker gets blamed and fired, client is desperate and is pushed aside, management is unscrupulous and greedy, and a rage catalyst virus is spread across the building. Those ingredients start a series of non stop action tableaus that are bloody, and at times, even quite funny. The director and his creative team get their point across quite well, namely that the greed DNA isn't easily extinguishable, but that ultimately everyone gets their comeuppance. The cast is uniformly solid, with Steven Yeun, Samara Weaving, Dallas Roberts, and the unexpected (for this film) Kerry Fox, giving credible and ferocious performances. The production team is solid, with the highlight going to Mina Buric's production design, building the corporate offices into something believable and relatable, and also Steve Moore's score. It may not be for everyone, but it's an entertaining film nonetheless. 

Blue Steel

Movie Name: Blue Steel
Year of Release: 1990
Director: Kathryn Bigelow
Starring: Jamie Lee Curtis, Ron Silver, Clancy Brown, Louise Fletcher, Philip Bosco, Elizabeth Peña, Kevin Dunn, Richard Jenkins, Markus Flanagan, Mike Hodge, Mike Starr, Tom Sizemore, Matt Craven
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

"Blue Steel" was Kathryn Bigelow's third feature since her debut with "The Loveless" in 1981. It was also another collaboration of her with screenwriter and director Eric Red, who made a name for himself in the 1980s with Robert Harmon's "The Hitcher", his own "Cohen and Tate", and his previous collaboration with Kathryn Bigelow, the vampire film "Near Dark". The film focuses its narrative on a fresh out of school police officer by the name of Megan Turner. In one of her first assignments she's forced to shoot a robber, who is holding up a neighborhood supermarket, and is threatening to kill people. When she shoots him, his gun falls to the ground, and one of the people in the supermarket, commodities trader Eugene Hunt, takes the gun and eventually slips away. Even with the eyewitnesses, but because the gun could not be retrieved, Megan is suspended from the job (and treated very harshly in the process). Eugene in the meantime starts killing random people with the gun all the while having paranoid delusions. Megan is trying to clear her name, but also starts dating Eugene, who has become obsessed with her. He admits to her he took the gun from the supermarket, and has been killing people since then. Megan arrests him, but Eugene is freed since his lawyer claims lack of evidence. Megan manages to partner with Detective Nick Mann, and they both seek out the evidence needed to arrest Eugene, but the following events just keep harming Megan's credibility further and further.

Kathryn Bigelow has a rare talent of making her stories and her characters both vivid and authentic. Even when the narrative is a futuristic one such as "Strange Days" or more of a trip back in time such as "The Weight of Water", every story fills inhabited by credible characters and situations. "Blue Steel" is one of her films where the plausibility of what's taking place is stretched beyond reasonable. While the obsessive relationship that is captured between Eugene and Megan has some possible ties with reality, everything else that is occurring around it, is stretched to a limit that undermines the narrative that is being told. There are sub-plots in the film that aim to bring some additional dimension to Megan as a character, and they do have enough dramatic ethos to do so (namely the relationship between her parents), however that is not extended to any of the other characters, including Eugene, who is illustrated as a sudden serial killer who is able to hold a very visible job during the day (he's the original "American Psycho" apparently). What eventually starts happening as the film progresses, and the incredulity of the situations mount, the ability to capture the audience's attention and investment lessens. The disconnect between where the narrative started and where it eventually leads is enormous, which in itself is not problematic, but that journey for the characters themselves feels less organic and more like a science-fiction narrative (which I don't think is the purpose). Jonathan Demme in his brilliant take on Thomas Harris' "The Silence of the Lambs" also took us on a journey, but one where even with the horrific tale being presented on screen, there was a consistency to it that made it engaging to go on the journey with Clarice Starling from beginning to end. This film lacks a supple journey, Megan's events feel unstructured, and Eugene's ability to circumvent every single challenge, particularly for someone who has no idea of what he is doing, feel unreal. The cast tries their best with the material they have, particularly Jamie Lee Curtis who gives it her all, with Clancy Brown, Louise Fletcher and Philip Bosco providing good support. The production team is impeccable, including Brad Fiedel's score and Amir Mokri's cinematography. It's a lessen feature in Kathryn Bigelow's body of work.