Dark Summer

Every once in a while a strange movie will come along and knock your socks off. I have always been a video store junkie looking for that odd gem that you can freak out your buddies with and I have found just such a movie. A new director named Gregory Marquette served up a tasty dish with his movie `Dark Summer'

(aka `Innocents') When I first took this home I was like `What the hell is going on..' and that feeling kept going on because this film never succumbed to the ordinary, only the extraordinary.

Jean Hughes Anglade, which any fan of `la Femme Nakita' will always

recognize, stars in this bizarre tale of lies and deception and was absolutely divine as the main protagonist Huxley. The man is a statement in

understatement. But I digress.

The film opens with an interrogation by one of the finest, solid character actor's, Keith David, interrogating Anglade's character about a series of murders and

from that point on I was hooked. Now don't get me wrong, this film is very

twisted and very very unconventional, but that is what so attracted me to the piece.

`Dark Summer', to me, is about the conflict of perception and innocence. The two antagonists, Mia Kirshner (Yummmm) and Connie Nielson, as the creepy

sisters, keep the dementia going by defying all definition. My point is the film kept fooling me (which is rare). Nothing is as it seems with this effort.

Power cameos by Frank Langella, Robert Culp, and the always excellent Keith

David, feed the twisted plot with a texture that is beyond the reach of the

Hollywood schlock machine. Anne Archer gives a bravura performance well

outside of the reach of any of the roles she has been saddled with in the past. (`Clear And Present Danger' Yuccchhhh!)

I think what really impressed me about this movie is you never know where this son of a gun is going. I do not want to give away the plot but I have rarely been fooled by plots and scripting, but this movie is the most different journey of any movie I have seen in recent history.

All in all the morality tale here is that no matter how decent you may be, the world conspires against you. Innocence is vulnerability, integrity is a liability.

Get a six pack, a good girl or friend and curl up with this movie, I guarantee that you will have a long, long talk afterward.

I hope I am not too vague but I am loath to give away the real joy of a film not being predictable and contrived. Who cares if it's not commercial, this movie made me sit on the edge of my seat and think. To the film makers, thank you. To it's critics, go ahead, make your own movie---I dare you!

Sort of a mess. There is a lot right about this picture, but it's not enough to make up for a poor plot. The direction was OK, and the photography good. There were excellent acting performances all around. Connie Nielsen was awesome. Mia Kirshner was, too. These were good roles, these actresses got to really chew the scenery. Same goes for Anne Archer in a smaller part. Robert Culp and Frank Langella were sort of slumming, but were still good, as actors of their caliber should be. Even the French guy turned in a good one. But that isn't enough to make up for a terrible plot, depending on stunning coincidences. I found the ending highly anticlimactic, as well. Just can't recommend this one.

Gerard, a French cellist, is driving across America when he sees cops investigating what looks like a car accident or a crime scene by the side of the road. He's so distracted that he runs off the highway and crashes into a field.

At the hospital, he meets Megan, a beautiful nurse. She's very distracting, too, and invites him to dinner at her house.

This guy never learns.

Megan lives with her equally beautiful younger sister, Dominique, who's infantile and seductive, and their dying father. Dad dies a few hours later and is buried apparently the next day.

Nothing like a funeral to stir the libido. That night, Gerard and Megan make love and a nude Gerard plays his cello in the dark.

The next morning, the mind-gaming sisters play a trick on Gerard, who gets a bloody nose in the process, but when they invite themselves on his road trip, he doesn't flee in terror, as any sensible person would.

About halfway through the movie, we're trying to decide what's more ridiculous: the over-the-top emoting over deep, dark family secrets; Dominique's personality; the cello-and-fiddle jam session at a country-western bar; Gerard's big, dumb puppy-dog eyes; or the fact that we're still watching.

This movie is like a car wreck or a murder scene. It's dreadful, but you simply can't take your eyes off it.

I just returned from a trip with my wife to Paris. Our friends there were raving about a movie called "Dark Summer". So much so that my wife insisted (She's a huge Connie Nielsen fan).

I have to be honest my wife and I don't usually agree on our tastes in movies but the second this film started I was on the edge of my seat. The main star (Jean Hughes Anglade) was a French superstar from what i was told, but his portrayal of the cellist Huxley was sublime. The film opens up with him being interrogated by a detective portrayed by Keith David. (From Platoon, and Something About Mary, the guy is always great)

After getting in a car accident he meets Connie Nielsen's character, a nurse named Megan who nurses him back to health. In appreciation, and of course a mutual attraction, he takes her up on dinner and to meet the family.

Mia Kirschner played her crazy sister with frightening aplomb. At first the meal and their good times seems a given until he meets the father. (Played by the always- amazing Frank Langella!!) The father is sick and dyeing yet the power he still commanded over his daughters and the shocked Huxley was unmistakable.

The father dies and in an incredibly erotic interlude, Huxley makes love to Megan the whole while the sister watches!!!

I don't want to give away anymore but the cameos keep poring on and the twists and turns never stop. There are serial killers, country music and beautiful landscapes.

The main reason I am writing this review was that after I saw this film I couldn't stop thinking about it. The whole time i was on the plane i kept talking about it and my wife told me about this website and I had to tell the world.

I don't know where it is playing or if you can rent it but see this movie!!!

This has been compared to Hitchcock but I'm not sure why. It isn't that Hitch didn't make a lot of road movies. He made a lot of them, beginning with "The Thirty-Nine Steps." But there was always a gimmick, something towards which the protagonists were heading, and the reason was clear even if the particular MacGuffin was not. This road movie has no goal, not even character development. We get the picture of character in the first few minutes: one peaceful Frenchman and two crazy sisters, an innocent and two broads. (That's meant to be a play on words. See Mark Twain.) The sisters remain pretty much the same throughout. The French musician realizes what's up but feels some vague sense of loyalty (or something) towards these women that keeps him from turning them over. He has the best line in the movie -- "You Americans, and your guns!" The film runs from one episode to the next without adding much to what we already know. Hitch's movies were filled with episodes and set pieces too, but they added up to more than the sum of their parts. The cameos here are interesting but don't change the nature of the film. The cellist and the Gold Dust Twins run into all kinds of creepy characters -- two pick-up artists in a cowboy saloon; a retired judge with a penchant for peeping (naughty!); the pick-up artists redux, this time as rapists/gunmen; the mother, a nice quick portrait by Amy Archer made more impressive by horrible makeup and compulsive use of the f word. What's there isn't badly handled. There's a nice Dakota thunderstorm. When the two gunmen get blasted, one gets it in long shot, with a distant strobe flash and puff of smoke bluish in the headlights. The acting is okay too. The Frogs have this ability to take an actor and make him inhabit a part to such an extent that we forget that he never seems a promising lead -- this guy here, Jean Reno, others. Ordinary faces in extraordinary circumstances. In its structure, if it resembles Hitchcock at all, it's late, kind of tired Hitchcock. "The Birds" maybe, without the Oedipal underpinnings, the incest theme notwithstanding.