My obsession with the Manson Family began during my early teenage years. In 2000, the year of its publication, I purchased "Sharon Tate and the Manson Murders" by Greg King from my local Waldenbooks.
Apart from some moving passages in Roman Polanski's autobiography, other writers covering the murders portrayed Tate only as THE VICTIM. King brought Sharon back to life, restored her humanity, and made the actress' story all the more tragic.
Quentin Tarantino attempts to do something similar with his newest film, Once Upon A Time In Hollywood. Though I don't usually include spoilers in my reviews, it seems almost impossible to discuss this film without revealing its ending. As with the conclusion of Inglourious Basterds, Tarantino again rewrites history. He imagines a world where Sharon Tate lived through that August night in 1969 and presumably went on to have a healthy baby and movie career.
Tarantino creates an alternate timeline where Sharon Tate becomes a star, and reduces Charles Manson to a footnote in her life, instead of the other way around.
Manson appears only briefly in one scene: an accurate recreation of the encounter he had with Tate and Jay Seabring months before the murders.
Even so, we feel Manson's presence throughout the movie. By the point in time when we meet his followers, they're entirely under his spell. It's his warped message that spews from their mouths; his dark soul lurks behind their obsidian and LSD dilated pupils. Several innocuous scenes are filled with suspense because we know what horrible crimes these people committed.
I loved Once Upon A Time In Hollywood, but that may be because I've gorged myself on so many books and movies about Manson over the last 19 years. I knew the name of each family member portrayed in the film and felt an overwhelming sense of dread when Tarantino cut to a street sign on Cielo Dr.
Brad Pitt's visit to Spahn Ranch seems inspired by the sequence in Tobe Hooper's Texas Chainsaw Massacre when the initial victims explore the Sawyer house. The Spahn Ranch scenes work better than anything in Tarantino's pseudo-horror film Death Proof.
I don't know how someone without prior knowledge of the murders could truly appreciate this movie. I've heard many critics call this QT's most accessible film yet. I disagree. For a maximum filmgoing experience, you need to do a lot of homework before you step into the theater.
Sharon Tate is not the star of this movie, nor should she be, not if Tarantino's goal is recasting her as a human being. Tate is not a crime statistic, a cautionary tale, or allegory. Most of Tate's scenes take place over a single typical day: she listens to records, goes shopping, and talks with her friends. Margot Robbie does an excellent job as Sharon and in her best scene, visits a theater playing one of her movies and eavesdrops on the audience response. Sharon smiles as she watches herself onscreen and dreams about the successful career she's sure to have.
I watched several Sharon Tate movies when I was younger (though she died before she could star in anything significant.) Polanski wanted her as the lead for Rosemary's Baby, but the studio made him cast Mia Farrow. Tate was talented, and just one role away from super-stardom.
The fictional leads of Once Upon A Time In Hollywood are Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt), a washed-up actor, and his stuntman/chauffeur/handyman/shoulder-to-cry-on.
DiCaprio and Pitt do some of the best work of their lengthy careers.
Leo brings the same manic energy from The Wolf of Wall Street. He's a hilarious performer trapped by this persona of "the serious actor" and rarely gets a chance to cut loose and show off his considerable comedic chops. Cliff is Pitt's best role since Inglorious Basterds ... maybe even since Fight Club. Once Upon A Time In Hollywood will be nominated for a score of Academy Awards (as most Tarantino movies are), but Pitt stands the best chance of winning an Oscar.
Even the smallest characters are perfectly cast. Emile Hirsch is nearly unrecognizable, but terrific as celebrity hairdresser Jay Seabring: Sharon's BFF. Al Pacino has his best role in years as a Hollywood producer. Bruce Dern is hilarious as the blind George Spahn, as is Dakota Fanning in her scene as Lynette "Squeaky" Fromme.
Even Lena Dunham, famous for playing the representation of many millennial women, seems born to play a hippie.
Despite dealing with the Manson Murders, it's best to go into OUATIH knowing the film is a comedy. Tarantino has crafted some funny scenes before, but this is his only movie that plays as an all-out comedy.
Since we're listening to Tarantino-written dialogue, there are many quotable lines throughout the movie, but the ending may be the best sequence Tarantino ever filmed. The audience reaction in my theater was uproarious as if DiCaprio stepping out of his garage with a flamethrower was the funniest moment in the history of film.
Yes, in the end, DiCaprio and Pitt stop the Manson Murders. Ultimately, I believe the movie is a fairytale. That's why the film's title begins with the words Once Upon A Time ...
What if someone stopped the Manson Murders?
What if Hollywood retained some of its innocence?
What if the counterculture movement continued into the 70s? (and Dalton thereby gives greater strength to the hippie generation he so often rails against.)
I can imagine that some film-obsessed parent might tell this bedtime story to his children. OUATIH plays like a fable originally based on darker material, sanitized by Hollywood, and made palatable to a broader audience. The Little Mermaid didn't die - she got her prince! Tex Watson didn't kill several innocent people - his penis was bitten off by an attack dog. Susan Atkins didn't stab a pregnant woman sixteen times - Rick Dalton burned that crazy cult member to death with a flamethrower and saved the day!
Reviews
12 Reviews
12 Angry Men
(1997 TV Movie)
Unnecessary remake with some great performances
13 June 2019
While it can't live up to the classic original, William Friedkin's update of the 1957 Sidney Lumet film mainly follows the same teleplay by veteran screenwriter Reginald Rose, preserving the rapid-fire dialogue and character-revealing monologues. A few short scenes have been added to comment on the new multi-cultural cast. Missing an excellent commentary on racial relationships in the mid90s, only years removed from the Central Park Five and L.A. Riots, one wishes Friedkin, and Rose further explored the black experience in a criminal and judicial system so tilted against them. The character of Juror #8, a man with a strong belief in the law and the catalyst for the entire movie, is a once again portrayed by a white man, this time with Jack Lemmon, replacing Henry Fonda.
Lemmon delivers an exceptional performance, but imagine how interesting it would have been to cast a black actor in the role; such a change certainly would have given Friedkin's update a stronger reason to exists. Like in the original, the defendant is a Latino, but the black jurors are revealed to be just as prejudiced against him as the whites. A black Islamic character, delivering almost the same monologue Lee J. Comb spewed in the original, goes on a late-period rant against "those people" in a speech worthy of a Donald Trump rally.
The main reason to watch the remake is the stacked cast. Even Tony Danza, playing the slimmest, unscrupulous juror, does the best work of his career. Director Friedkin, who was experiencing something of a career slump at the time, wisely hands the movies over to his characters and, at times, the results are magnificent.
One hopes for another remake with a few female jurors thrown into the mix. Maybe they can clear out some of the stubbornness and toxic masculinity that hangs heavy in juror room, but, then again, such a movie may only last thirty minutes.
Lemmon delivers an exceptional performance, but imagine how interesting it would have been to cast a black actor in the role; such a change certainly would have given Friedkin's update a stronger reason to exists. Like in the original, the defendant is a Latino, but the black jurors are revealed to be just as prejudiced against him as the whites. A black Islamic character, delivering almost the same monologue Lee J. Comb spewed in the original, goes on a late-period rant against "those people" in a speech worthy of a Donald Trump rally.
The main reason to watch the remake is the stacked cast. Even Tony Danza, playing the slimmest, unscrupulous juror, does the best work of his career. Director Friedkin, who was experiencing something of a career slump at the time, wisely hands the movies over to his characters and, at times, the results are magnificent.
One hopes for another remake with a few female jurors thrown into the mix. Maybe they can clear out some of the stubbornness and toxic masculinity that hangs heavy in juror room, but, then again, such a movie may only last thirty minutes.
The Stranger Beside Us All
31 January 2019
When visiting a new city or state, I like to read a biography about a famous resident. During a trip to Seattle, I picked two books about serial killer Ted Bundy: The Stranger Beside Me by Ann Rule and The Phantom Prince by Elizabeth Kendall (referred to by her actual last name of "Kloepfer" in the documentary.) Both authors had close relationships with Bundy, and their books painted an intimate and searing portrait of the man and monster. Because Bundy formed a friendship with Ann Rule long before she became a published author, he may be the serial killer whose personal life we know the most about.
Bundy was a student at the University of Seattle and killed many young women who lived on campus. Bundy's victims were all physically similar: young, brunette women with long hair parted in the middle. The serial killer's murder spree would continue in Utah, Colorado, and Florida before he was eventually captured and executed. Bundy's crimes happened a generation ago, and he has gone from a boogeyman haunting newspaper headlines to a legitimate part of American history. He was one of the first serial killers to give authorities proper insight into the mind of a violent sociopath.
I've read several other books about Bundy, watched various documentaries, listened to podcasts, and even visited Ted's favorite watering hole. I didn't think there was much about the serial killer I had yet to learn, but Conversations with the Killer: The Ted Bundy Tapes offers new information to even the most diehard Bundy devotee.
Joe Berlinger, the director behind the Paradise Lost Films, has access to a vast collection of archival footage (some I've never seen before and all shown in pristine broadcast quality.) Berlinger's amazing dedication to this documentary just might render the upcoming feature film about Bundy rather superfluous.
The tapes that form the backbone of Conversations with a Killer have been available to the public for years, but only as low-quality YouTube files; you can also find the entire video of Bundy's Florida court case online.
I highly recommended this documentary to any Bundy devotee, true crime buff, or researcher of deviant psychology.
Bundy was a student at the University of Seattle and killed many young women who lived on campus. Bundy's victims were all physically similar: young, brunette women with long hair parted in the middle. The serial killer's murder spree would continue in Utah, Colorado, and Florida before he was eventually captured and executed. Bundy's crimes happened a generation ago, and he has gone from a boogeyman haunting newspaper headlines to a legitimate part of American history. He was one of the first serial killers to give authorities proper insight into the mind of a violent sociopath.
I've read several other books about Bundy, watched various documentaries, listened to podcasts, and even visited Ted's favorite watering hole. I didn't think there was much about the serial killer I had yet to learn, but Conversations with the Killer: The Ted Bundy Tapes offers new information to even the most diehard Bundy devotee.
Joe Berlinger, the director behind the Paradise Lost Films, has access to a vast collection of archival footage (some I've never seen before and all shown in pristine broadcast quality.) Berlinger's amazing dedication to this documentary just might render the upcoming feature film about Bundy rather superfluous.
The tapes that form the backbone of Conversations with a Killer have been available to the public for years, but only as low-quality YouTube files; you can also find the entire video of Bundy's Florida court case online.
I highly recommended this documentary to any Bundy devotee, true crime buff, or researcher of deviant psychology.
Born for Hell
(1976)
Part Character Study, Part Exploitation Film
26 January 2016
Evident by the lurid, nonsensical title that was most likely slapped on the final print by seedy exhibitors and greedy theater owners, Naked Massacre aims for the profound but falls victim to the basest genre trappings. The film advertises itself as being based on the infamous Richard Speck case. Speck was an American mass murderer in the sixties who killed six female nurses during a home invasion. The film is merely inspired by the story, changing the locale from Chicago to Ireland. The switch works, giving the horror film an interesting backdrop, a war torn country besieged by the IRA, and setting it apart from similar themed movies like Last House on the Left and Last House on the Beach. The main character of the film, not named Richard Speck though he shares certain similarities, is a Vietnam vet trying to return to the United States. Surprisingly for a movie of this ilk, the film spends more time with the killer than with his victims. The nurses are non-entities drawn in broad strokes. The most recognizable actress, Carole Laure, is known for starring in Sweet Movie, a Yugoslavian film much more successful in blending socio-political statements with explicit sex and violence. Once the killing starts the movie devolves into a nasty grindhouse film. Scenes where our main character terrorizes a pregnant victim or forces one woman to perform oral sex on another crosses the line of good taste and belittles the measured film that came before it. Still, the movie is worth a look and recommended because of its unique place among horror films. Though flawed, Naked Massacre deserves to be seen by a wider audience.
Irreversible
(2002)
Cinematic Nihilism
31 July 2014
I went back and forth, debating whether or not to award Irreversible a ten-star or one-star rating. There is no middle ground; this film can only inspire love or hate. No one will find it merely "okay." Ultimately, I decided to award a perfect rating just because of the visceral reaction I had. I appreciated Irreversible, but that doesn't mean I always enjoyed watching it. There were times I wanted to shut off my television, the pictures on screen becoming too graphic and upsetting, but I didn't. When I finally reached the end (or is it the beginning of this twisty narrative?) I felt like I had accomplished something great just by absorbing the frames of this film. This is not an easy watch, and I don't know if I'll ever want to revisit it again, but I would recommend to those who have a strong stomach and a taste for twisted cinema.
The Next Three Days
(2010)
The Most Successful Thriller In Years
15 November 2013
Let me get one thing out of the way: I hate Paul Haggis! I found Million Dollar Baby to be overrated and Crash was cloying and manipulative - one of the worst Best Picture winners in recent history, and an unintended champion of homophobia. That being said, I thoroughly enjoyed The Next Three Days. In my opinion, it is was of the most successful thrillers I've seen in the last ten years. I was literally on the edge of my seat during the majority of the movie. The Next Three Days isn't without its flaws - it is a Paul Haggis film, after all. The writing of the police characters is seemingly taken from the worst TV procedural clichés. And while Russell Crowe and Elizabeth Banks shine in the lead roles, some of the casting in the supporting roles seems off. Like the bizarre Tony Danza cameo in Crash, here we get Daniel Stern as a high- priced lawyer and Liam Neeson as hardened criminal. Still, the film's minor flaws don't detract from my overall enjoyment of the film. Put aside your hate for Paul Haggis and check out The Next Three Days.
Giallo in Venice
(1979)
Worth Seeking Out
13 November 2013
Giallo a Venezia, also known as Giallo In Venice, has a reputation for being one of the sleaziest films produced in an already sleazy sub genre. Giallos, for the uninitiated, are Italian horror films known for their extreme violence punctuated by scenes of explicit sex. They heavily influenced the American slasher films of the late 70s and early 80s, but for the most part these American films were not as extreme as their Italian counterparts.
There are few death scenes in Giallo a Venezia but they are quite gory. There's an immolation, a graphic dismemberment, and the usual requisite stabbings. Giallo a Venezia does feature plenty of sex and nudity, but the bare bodies on display do further the plot. After finding a married couple's dead bodies on the Venice beach our main character, a detective, is baffled by the crime's seemingly lack of motive. We spend the rest of the movie inter-cutting between the detective working on his case and flashbacks of the deceased married couple. The film's flashback structure is unique telling the story of the married couple's last days before their death. Their marriage is, to put it politely, very rocky. The husband is a cocaine addict and frequently indulges in kinky sex to debase his wife.
While Giallo a Venezia may lack the social commentary of Lucio Fulci or the swooping camera-work and visual styling of Dario Argento, it is still a giallo that can comfortably stand on merits of its own. Unlike some other giallos that have been loving restored and even presented on Bluray, tracking down a copy of Giallo a Venezia may present quite a challenge. I had to settle for a sub par VHS rip.
There are few death scenes in Giallo a Venezia but they are quite gory. There's an immolation, a graphic dismemberment, and the usual requisite stabbings. Giallo a Venezia does feature plenty of sex and nudity, but the bare bodies on display do further the plot. After finding a married couple's dead bodies on the Venice beach our main character, a detective, is baffled by the crime's seemingly lack of motive. We spend the rest of the movie inter-cutting between the detective working on his case and flashbacks of the deceased married couple. The film's flashback structure is unique telling the story of the married couple's last days before their death. Their marriage is, to put it politely, very rocky. The husband is a cocaine addict and frequently indulges in kinky sex to debase his wife.
While Giallo a Venezia may lack the social commentary of Lucio Fulci or the swooping camera-work and visual styling of Dario Argento, it is still a giallo that can comfortably stand on merits of its own. Unlike some other giallos that have been loving restored and even presented on Bluray, tracking down a copy of Giallo a Venezia may present quite a challenge. I had to settle for a sub par VHS rip.
Forged
(2010)
This Movie Will Run Up Your Water Bill, You'll Want To Take A Scalding Shower Afterwards!
10 November 2013
Manny Perez stars as Chuco, an ex-con released from prison after killing his wife. He tries to reconnect with his young son, Machito, who witnessed the murder of his mother and has been living on the streets ever since.
Set in Scranton, Pennsylvania this film will do little for the city's tourism industry. The filmmakers seem to have made a conscience effort to portray their city in an entirely different light than the Scranton seen on NBC's hit sitcom The Office. This city is not home to a motley crew of funny and quirky characters, but to gangsters, thugs, and lowlifes - a veritable Hell on Earth.
David Castro, as Chuco's young son, gives the role his all. He's too young to realize he should be phoning in his performance, saving his talent for a better movie. Throughout the film, Chuco feels entitled to his son's forgiveness; he doesn't do anything to earn that forgiveness, and actually ends up making the boy's life worse. Still, the screenplay wants us to root for Chuco - but only because he's the lead character, not because he redeems himself in any way or atones for his sins. Chuco is not a hero, he's an awful human being, but the movie excuses his behavior. Forged bills itself as a film about redemption - its not. The filmmakers are too lazy to actually ensure their movie has a point.
Kevin Breznahan, an actor best known for his bit roles in comedies, is an odd choice to play the film's heavy. With his helium-infused voice and fey demeanor, Breznahan is about as scary as a Teletubby. Margo Martindale, as Chuco's alcoholic mother, fares better. Still, one hopes she was actually intoxicated during her scenes; maybe she won't remember spouting out groaners like "A bitter tree can only grow bitter fruit!" Many scenes end with the lead characters staring dramatically into the distance, soap opera-like, searching for the profound dialog the script can not provide them with.
Director Will Wedig's previous credit was the zombie-flick 'Rise of the Dead.' Wedig should have continued working in the horror industry, a genre more forgiving of bad writing and poor direction. By tackling a serious drama, Wedig seems to have bitten off more than he can chew. In a truly tasteless bit of editing, the father's dalliance with a local prostitute is inter cut with a scene of the young boy whoring himself out to the town pedophile. Wedig fills the movie with some obvious symbolism, straight out of screen writing 101. The father and son are rebuilding a car at the same time they're rebuilding their relationship! In another scene, a man, sacrificing his own life, outstretches his arms and adopts a Christ-like pose. Get it? Throughout the movie you can literally feel Wedig nudging you in the ribs, making sure you don't miss any detail in his multi-layered "masterpiece." At a running time of only seventy-two minutes, Forged is barely feature length. The needlessly constant use of slow motion only serves to pad out the film's scant running time. Still, by the time the end credits roll, you'll have spent too much time with these characters and with this film.
Set in Scranton, Pennsylvania this film will do little for the city's tourism industry. The filmmakers seem to have made a conscience effort to portray their city in an entirely different light than the Scranton seen on NBC's hit sitcom The Office. This city is not home to a motley crew of funny and quirky characters, but to gangsters, thugs, and lowlifes - a veritable Hell on Earth.
David Castro, as Chuco's young son, gives the role his all. He's too young to realize he should be phoning in his performance, saving his talent for a better movie. Throughout the film, Chuco feels entitled to his son's forgiveness; he doesn't do anything to earn that forgiveness, and actually ends up making the boy's life worse. Still, the screenplay wants us to root for Chuco - but only because he's the lead character, not because he redeems himself in any way or atones for his sins. Chuco is not a hero, he's an awful human being, but the movie excuses his behavior. Forged bills itself as a film about redemption - its not. The filmmakers are too lazy to actually ensure their movie has a point.
Kevin Breznahan, an actor best known for his bit roles in comedies, is an odd choice to play the film's heavy. With his helium-infused voice and fey demeanor, Breznahan is about as scary as a Teletubby. Margo Martindale, as Chuco's alcoholic mother, fares better. Still, one hopes she was actually intoxicated during her scenes; maybe she won't remember spouting out groaners like "A bitter tree can only grow bitter fruit!" Many scenes end with the lead characters staring dramatically into the distance, soap opera-like, searching for the profound dialog the script can not provide them with.
Director Will Wedig's previous credit was the zombie-flick 'Rise of the Dead.' Wedig should have continued working in the horror industry, a genre more forgiving of bad writing and poor direction. By tackling a serious drama, Wedig seems to have bitten off more than he can chew. In a truly tasteless bit of editing, the father's dalliance with a local prostitute is inter cut with a scene of the young boy whoring himself out to the town pedophile. Wedig fills the movie with some obvious symbolism, straight out of screen writing 101. The father and son are rebuilding a car at the same time they're rebuilding their relationship! In another scene, a man, sacrificing his own life, outstretches his arms and adopts a Christ-like pose. Get it? Throughout the movie you can literally feel Wedig nudging you in the ribs, making sure you don't miss any detail in his multi-layered "masterpiece." At a running time of only seventy-two minutes, Forged is barely feature length. The needlessly constant use of slow motion only serves to pad out the film's scant running time. Still, by the time the end credits roll, you'll have spent too much time with these characters and with this film.
Bad Girls Go to Hell
(1965)
Hell House
23 October 2013
A sexploitation flick that's risen to cult status based on its lurid title alone, Bad Girls Go To Hell is a time-capsule of sixties' sleaze. Don't expect Doris Wishman to inject any feminist subtext into this misogynist genre. This was Wishman's first roughie, a sub genre focusing on titillating the audience with male violence perpetrated against women. Sadly, this trend of equating sex with violence continues to be prevalent in pornography today. Wishman, like fellow exploitation director Russ Meyer, shows considerable skill as an editor. However, Bad Girls Go To Hell is a technical mess. The threadbare plot focuses on a housewife who flees the police after murdering her rapist. Why she doesn't claim self-defense for the quite justified killing is never explained. The housewife, played by Gigi Darlene, is quite a beautiful woman. She carries herself with grace and poise, seemingly unaffected by Wishman's leering camera. There are numerous salacious shots focusing on Darlene's buxom form, but most of the nudity appears in the first ten minutes. After that, the film relies more on her meager acting talents. The movie ends with an "it was all just a dream" coda, explaining away some of the more bizarre and unrealistic moments. The strongest moments of this film, a lesbian subplot, appears to have been cut to ribbons by outraged censors.
Liquid Sky
(1982)
One Of The Last Midnight Movies
9 October 2013
Set against the 80's punk scene, most of the main characters in Liquid Sky work as avant-garde models. If the movement had been as bizarre as depicted in the film, I have no doubt it would still be around today. For a low-budget movie, the acting is surprisingly good. Anne Carlisle (who also worked on the script and wrote a novel based on the film) plays dual roles. She stars as the main character, Margaret, a small town girl who moved to New York City seeking fame and fortune. Margaret realized most of her dreams, but life as a model seems joyless and empty. She performs a monologue in fluorescent makeup near the end of the film that is genuinely heartbreaking; such moments of cinematic magic occur when terrific acting meets profound writing. Carlisle also plays Jimmy, a gay male model, and Margaret's chief antagonist. Paula Sheppard, star of "Alice Sweet Alice" is perfect as Margaret's girlfriend, a lesbian drug dealer.
Then the aliens show up. Though the creatures themselves remain invisible, their spaceship is roughly the size of a dinner plate.
While the special effects are a constant reminder of the film's $500,000 budget, they do possess a certain rough charm. Sometimes the film is shot from the alien's point-of-view, a cheap effect achieved by polarizing the film stock.
What turns Liquid Sky from mere curiosity into a cult classic is the deft direction of Vladislav Tsukerman. He creates a rich sense of mood and character through the use of unexpected and original camera angles and mise en scène. With the help of some precise editing, Tsukerman juggles a myriad of subplots; the overall effect is too interesting to be disjointed. Admittedly, the downstairs heroin addict has too much screen time and little to do with the plot (even though his drug of choice provides the film with its name.)
Red State
(2011)
Red State Isn't Worth The Wait
8 October 2013
As a fan of Kevin Smith's I was looking forward to Red State. However, the film is a disappointment and I can not recommend it. What should be a simple story of a Waco-like siege on a group of religious extremists is borderline incoherent due to a number of tonal shifts. It almost feels like three different screenwriters, working independently of each other, wrote the beginning, middle, and end. While the acting is sublime, particularly the performances by Michael Parks and John Goodman, they are wasted on such an uneven script. Other fine characters, like Stephen Root's conflicted police chief, are introduced and then quickly cast aside. Much has been made of funny man Kevin Smith branching out and making a serious horror/thriller. While he succeeds in creating an arresting visual style, due to his direction and taut editing, he should have collaborated with another writer that understands the genre better.
After Last Season
(2009)
Like Nothing You've Ever Seen!
6 October 2013
After Last Season destroys the cinematic language and creates it anew. It's so different from anything I've ever seen before. One could describe it as daring and original if it weren't so shockingly inept.
The dialog is beyond boring - most of the conversations between the characters are about the weather or directions to places they visited off screen. At no point in the film does the writer/director try to entertain his audience. If nothing else, I admire his commitment to banality.
Unlike 'The Room' or 'Birdemic' this isn't a "so bad it's good" type of movie ... this is an endurance test!
The dialog is beyond boring - most of the conversations between the characters are about the weather or directions to places they visited off screen. At no point in the film does the writer/director try to entertain his audience. If nothing else, I admire his commitment to banality.
Unlike 'The Room' or 'Birdemic' this isn't a "so bad it's good" type of movie ... this is an endurance test!
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