Asesino Íntimo

Terderness is not a thriller, it is a drama with suspense, if you don't get it, then you don't. It is an indie, different, and not a happy one, not by far. It reminds me of the Korean film Seom (The Isle), although it is not as brutal, just as sad. People in it, very well portrayed all in all, are desperate, trying to be anything else than they have to be. It is rare to find this slowly moving film with such strong emotions beneath the surface, specially when the problems are so far off, at least an American one, they are use to be about people finding themselves. This film is about trying to lost oneself. It deserves to get noticed, although I can't imagine normal people liking it. But if you like such films as The Isle, Underground, Funny Games, it is a must.

A rather sombre and one-note film about a young serial killer who manages to escape trial as an adult on grounds of diminished responsibility, and gets released into the chicken coop again when he's 18. A semi-retired cop who wants to get him back in custody and stop any more deaths trails him after release. A young lady who doesn't think much of life hooks up with the serial killer. Brings to life a phrase I recently heard from a philosopher, when we look for romantic partners we look for, "familiar suffering".

The film is about people with meaningless lives, looking for a reason to get out of bed every day other than to continuously reflect on their pain.

Potentially for people who already read the novel, the poor editing is easily overlooked as they know what was going on anyway. Russell Crowe and Laura Dern signed up to the project, perhaps as the novel has received some quite favourable attention, but they don't bring much to it.

The film lacks any dramatic oomph, partly because the cop is a really nice guy who looks at Eric as a young man with a mental illness; and there's no animus back from Eric, simply because he lacks most ordinary human feelings. Although a few people did manage to get happy about Tenderness, it seemed to me like like a roughly hewn film with no outstanding qualities.

In Buffalo, Lori Cranston (Sophie Traub) is a troubled developed teen facing unwelcomed sexual attention from her boss and her mother Marsha (Arija Bareikis)'s boyfriend Gary (Michael Kelly). Eric Komenko (Jon Foster) killed his parents at 15 and is getting released from juvenile detention at 18 to stay with his aunt Teresa (Laura Dern). His arresting officer Lt. Cristofuoro (Russell Crowe) is certain that he's a psychopath. Eric is driving to meet up with Maria (Alexis Dziena) when he finds Lori in the back of his car.

This movie wants to hold onto its secrets. The problem is that I don't particularly care. The first half is one long tease. The opening with Sophie Traub has a couple of compelling moments. Jon Foster has a quizzical look on him. There are many possibilities. The story has a very odd twist but not a thrilling one. Russell Crowe is essentially wasted in this movie. His character is unnecessary and the story may benefit without him. None of it really pulled me into this movie. If Sophie Traub could play it more disturbed, it could be an interesting character study.

I hadn't heard of this film until Redbox e-mailed me and reported it as a new release. I went out and rented it right away, curious to see what Russell Crowe had done as I like to watch him work.

Hats off to Jon Foster and Sophie Traub for telegraphing internal dialogue well enough to keep me nearly interested. There is tension, as you can't tell if Foster's character will act on impulse to bring more grief to the world.

Grief is the common theme. Life as Grief, Actions and Consequences as Grief, Breathing as Grief. Fortunately I took my Welbutrin this morning so I was in a pretty good mood both going in and coming out of the film experience.

All the professional elements are present: acting, directing, lighting, set design, and even a minimal amount of music. There is a story here, but its one that neither added to my life or made me feel better about the human condition.

Skip this one, don't waste the spot in your Netflix queue.

'Tenderness' was first recommended to me by a close friend who I normally trust as far as judgment in film. However, when I learned the director, John Polson, was responsible for such films as 'Swimfan' and 'Hide & Seek', I had my doubts... As the movie progressed I found myself reassured by some emotionally provoking cinematography, strong performances, and an intriguing story. This film obviously is not comparable to Polson's previous flawed films. No, 'Tenderness' is actually substantial proof that Polson does have some talent in his bones after all.

After several years of juvenile incarceration for the horrific murders of his parents, Eric Poole (Jon Foster) is released back into the world amidst much controversy. While dealing with his wife's terminal condition, Retired Detective Cristofuoro (Russell Crowe) keeps close watch on Eric after his release waiting for him to slip up. Shortly after returning to his Aunt's home, Eric sets off to Albany to look at colleges. Suspecting that there is more to the trip that Eric is letting on, Eric's Aunt Teresa (Laura Dern) notifies the Detective of the trip. Fueled by an obsession by a seemingly chance encounter with Eric before the murders, a young and immature teen, Lori (Sophie Traub), forces a second encounter and finds herself accompanying Eric on his journey all while both searching for their own version of tenderness.

While it's no secret that this is not a perfect film, there is something to be said about this adaptation of Robert Cormier's novel. Instead of drawing from high suspense of the occurring events and without spelling everything out for the audience like most American films, Australian director Polson focuses on studying the film's characters. Though the characterization is a worthy effort, I still felt that the full potential of each character's depth was not explored. As long as you can get past Polson's earlier work and view the film with an open mind, you should be able to enjoy 'Tenderness' for as much as I did.