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If you like intentionally bad movies, this might be your cup of tea.
I have a bit of a weakness for inspired camp, especially movies that can walk that fine line between plausible and over the top -- It's a difficult tension to manage, but 'Dark Honeymoon' manages it.
Lindy Booth is the real star of this one. Since her debut on the unfortunately short-lived sow,'Oyssey 5', she's made a specialty of playing crazy girlfriends -- sweet on the outside, but a bunch of broken marbles, once you get her home. 'O5','Wrong Turn', 'Cry_Wolf' and here, she plays the batsh#tinsane girlfriend and does a marvelous job with it.
What is impressive here is the support that writer-director David O'Malley got here -- Eric Roberts, Darryl Hannah, Tia Carrere and Roy Scheider -- strong almost A-list players, all -- each playing supporting roles in what would otherwise be a cheesy teen-age slasher flick. But the demographic of this flick is just a bit twisted, as the protagonists here, Kathryn and Paul are int their mid- to late-20's, already just a bit out of scope for the usual mall crowd.
The other oddity here is the emphasis, if not effort that was put into the music -- though the film has a cheap, raw look to it (think DePalma's 'Sisters') it has a world-class soundtrack that rivals anything executed by Bernard Hermann. The music definitely kicks this movie up 3 notches above whatever dreck it would have been without the efforts of Juan Colomer and his big string section.
If you like Lindy and you're a fan of early, Hitchcock-inspired DePalma, this is one that you probably want to investigate, if only for a fun ride.
I have a bit of a weakness for inspired camp, especially movies that can walk that fine line between plausible and over the top -- It's a difficult tension to manage, but 'Dark Honeymoon' manages it.
Lindy Booth is the real star of this one. Since her debut on the unfortunately short-lived sow,'Oyssey 5', she's made a specialty of playing crazy girlfriends -- sweet on the outside, but a bunch of broken marbles, once you get her home. 'O5','Wrong Turn', 'Cry_Wolf' and here, she plays the batsh#tinsane girlfriend and does a marvelous job with it.
What is impressive here is the support that writer-director David O'Malley got here -- Eric Roberts, Darryl Hannah, Tia Carrere and Roy Scheider -- strong almost A-list players, all -- each playing supporting roles in what would otherwise be a cheesy teen-age slasher flick. But the demographic of this flick is just a bit twisted, as the protagonists here, Kathryn and Paul are int their mid- to late-20's, already just a bit out of scope for the usual mall crowd.
The other oddity here is the emphasis, if not effort that was put into the music -- though the film has a cheap, raw look to it (think DePalma's 'Sisters') it has a world-class soundtrack that rivals anything executed by Bernard Hermann. The music definitely kicks this movie up 3 notches above whatever dreck it would have been without the efforts of Juan Colomer and his big string section.
If you like Lindy and you're a fan of early, Hitchcock-inspired DePalma, this is one that you probably want to investigate, if only for a fun ride.
This film is a strange confab of celebrity travel souvenir and retrospective of the Rastafarian movement on the occasion of Bob Marley's 60th birthday.
Much of the surviving Marley clan is featured here Ziggy, Rita, Cedelia, Damian and Julian there's music and interviews. And more interviews interviews with lots of people who just happened to show up for Bob's birthday celebration down in Ethiopia. There's Danny Glover, Angelique Kidjo, Lauren Hill and others but the participants here seem to be fighting over Marley's legacy as much as celebrating it.
But the title of the film is 'Africa Unite' and NOT 'A Posthumous Celebration of Bob Marley's 60th Birthday'. Though the film doesn't come together as a cohesive narrative or a document of an important event, it does feature a few good, informative moments for people unfamiliar with Marley and/or the Rastafarian movement.
Notably, Haile Selassie's 1963 address to the U.N. and the pan-African movement are addressed after the 2nd half-hour, the same speech that Marley put to music and recorded as the song "War".
But the relationship of these celebrities and the search for human rights, cultural development and education get somewhat muddled as the filmmakers wander back and forth from hotel conference-rooms to the streets of Addis Ababa apparently seeking some sort of grilled-cheese manifestation of the departed musician. There's plenty of archival footage and information about Haile Selassie, but those who are really interested in the subculture and Marley's impact might do better to see Jeremy Marre's 'Rebel Music' (2001), Awake Zion (2005), The Promised Ship (2000) or any of the many Wailers concert videos.
Much of the surviving Marley clan is featured here Ziggy, Rita, Cedelia, Damian and Julian there's music and interviews. And more interviews interviews with lots of people who just happened to show up for Bob's birthday celebration down in Ethiopia. There's Danny Glover, Angelique Kidjo, Lauren Hill and others but the participants here seem to be fighting over Marley's legacy as much as celebrating it.
But the title of the film is 'Africa Unite' and NOT 'A Posthumous Celebration of Bob Marley's 60th Birthday'. Though the film doesn't come together as a cohesive narrative or a document of an important event, it does feature a few good, informative moments for people unfamiliar with Marley and/or the Rastafarian movement.
Notably, Haile Selassie's 1963 address to the U.N. and the pan-African movement are addressed after the 2nd half-hour, the same speech that Marley put to music and recorded as the song "War".
But the relationship of these celebrities and the search for human rights, cultural development and education get somewhat muddled as the filmmakers wander back and forth from hotel conference-rooms to the streets of Addis Ababa apparently seeking some sort of grilled-cheese manifestation of the departed musician. There's plenty of archival footage and information about Haile Selassie, but those who are really interested in the subculture and Marley's impact might do better to see Jeremy Marre's 'Rebel Music' (2001), Awake Zion (2005), The Promised Ship (2000) or any of the many Wailers concert videos.
Filmed back in 2004, but left on the shelf for 3 years, 'Ripley Under Ground' aka 'White On White' has been released on DVD in Europe.
Barry Pepper plays Ripley as something of a low-key rock-star - long hair, a close shave and charisma to burn and the tone of the thing is far lighter than any of the previous incarnations - 'Purple Noon' ,'The American Friend', 'The Talented Mr. Ripley', 'Ripley's Game', etc.
Some early reviewers have referred to it as a 'comedy', but it's not, really. Unfortunately, the lighter tone actually hurts the film a bit, because this outing paints Mr. Ripley as less of a menace and sociopath than any of the Ripley films that have preceded it.
This interpretation apparently sprang from a comment that Ms. Highsmith made about the films adapted of her novels: She apparently felt that the films missed the humor of her character and the droll wit of her dark plots. But the humor in this effort tends to undermines the suspense.
Beside having freed Mr. Pepper from the short-haired grunt roles that he usually plays, the film really allows Alan Cumming and Claire Forlani to shine in ways that they usually aren't allowed to when they are shoe-horned into American accents. She is officially excused from having participated in 'Meet Joe Black'.
It's a good, but not great film. The delight was seeing Barry Pepper stretch-out in the kind of role he's seldom given.
I typically enjoy the Ripley films and novels for their psychopathy, but this was different enough to be enjoyable. If you come across it on cable or the Shanghai bootleg carrels try not to overlook it.
*** out of *****
Barry Pepper plays Ripley as something of a low-key rock-star - long hair, a close shave and charisma to burn and the tone of the thing is far lighter than any of the previous incarnations - 'Purple Noon' ,'The American Friend', 'The Talented Mr. Ripley', 'Ripley's Game', etc.
Some early reviewers have referred to it as a 'comedy', but it's not, really. Unfortunately, the lighter tone actually hurts the film a bit, because this outing paints Mr. Ripley as less of a menace and sociopath than any of the Ripley films that have preceded it.
This interpretation apparently sprang from a comment that Ms. Highsmith made about the films adapted of her novels: She apparently felt that the films missed the humor of her character and the droll wit of her dark plots. But the humor in this effort tends to undermines the suspense.
Beside having freed Mr. Pepper from the short-haired grunt roles that he usually plays, the film really allows Alan Cumming and Claire Forlani to shine in ways that they usually aren't allowed to when they are shoe-horned into American accents. She is officially excused from having participated in 'Meet Joe Black'.
It's a good, but not great film. The delight was seeing Barry Pepper stretch-out in the kind of role he's seldom given.
I typically enjoy the Ripley films and novels for their psychopathy, but this was different enough to be enjoyable. If you come across it on cable or the Shanghai bootleg carrels try not to overlook it.
*** out of *****