The Letter

Review: What a complete load of rubbish! With a name like Obsessed and a cast with James Franco and Winona Ryder, I was expecting something interesting and entertaining, but this was really bad. Most of the film was set on stage with Winona Ryder directing a play, which was really bad, and on top of that, you've got Winona Ryder narrating the whole story. I really can't see what the director was trying to achieve with this film because there isn't much point to it. I can understand the twist which comes out at the end, but by that time I deliberately made myself busy so I could get through the annoying pile of rubbish. The stupid piano that's going through the whole movie is really annoying and the mood if depressing. Just stay away from the film!

Round-Up: I darn see why the hell James Franco and Winona Ryder agreed to doing this film because the script is appalling. Maybe they were just paying bills. Ever since Winona Ryder got caught thieving, her career has gone from bad to worse, and this movie isn't going to so her any favours. She's need a film like Beetlejuice 2 to bring her our of the dark. As for James Franco, I always knew that he does quirky movies, but I really can't see why he would want this film on his filmography. Anyway, I really can't find anything good to say about this film because there is nothing interesting or entertaining about it.

Budget: $10million (Waste Of Money!) Worldwide Gross: N/A

I recommend this movie anyone that wants to get bored to death. 1/10

I'm not surprised that such a movie is underrated in the culture of the hunger games and 3d Movies. I never expected I would ever see again a high standard movie and after the movie was over I was shocked.. without spoiling this movie reflects almost accurately that 'situation' Martin finds herself in. I longed for such films which leave a need to think and criticize reality as it is.. what is a dream..are we real..do we see everything as we should..This movie is no less then dogville in style. I hail Winona ryder for her honest and excellent acting. I think this is her best movie!

Definitely worth watching!

This film tells the story of a female playwright, who is preparing for the opening of her play. She experiences weird occurrences, and she begins to doubt her sanity.

"The Letter" tries to be super artistic, as evidenced by super slow pace and the substitution of scenes with narration by the main character, I wish there was no narration, and they just show the events normally. The narration is plain and devoid of emotion, it does not give the first person emotional account that is expected. Winona Ryder does not look convincing as a playwright or as a crazy person. In fact, she looks to pretty and too sane for her role. The so called suspense fails miserably, because the strange events are presented in such subtle manner. There is no intensity, engagement or thrill. The whole film is a complete bore. I don't understand the beginning, middle or the end. The suppose twist at the end is so laughable and unbelievable, because there is no motive described anywhere in the film. Even when taking the low budget into account, "The Letter" could have bee so much better.

If you saw the trailer and thought it was interesting then don't bother; you'll hate this film. I mean it. Don't even think about watching.

If, on the other hand, you saw the trailer and thought "oh great, another forgettable thriller about a creepy guy and clueless chick. When will anyone try anything new for chrissake??" then hold your horses because this movie might be just for you.

"The Letter" marks the 2nd pairing of the phenomenal acting/directing team of James Franco and his professor Jay Anania (the first being the excellent film "Vincent" aka "Shadows & Lies"). This time Winona Ryder joins the group and adds her own perfect eccentricity to the mix. Ryder plays the part of "Martine" a playwright who is putting on a production with 5 actors including a shadowy newcomer "Tyrone" (Franco).

As the play progresses, reality begins to wrap itself around imagination and vice versa. Some have compared this to other recent mindbenders like "Black Swan" and "Memento", but I would say this film outshines them all due to Anania's fierce, stylistic approach which really gets into your head. There aren't really any shocks, thrills, chills, gore or other cheapshots to make you spill your popcorn. Instead, it's a very insidious, unsettling visual approach, as well as disjoint audio, that draws you into the mounting tension and confusion of Martine's mentally unbalanced psyche. No monsters or broken mirror shards required. That's one thing to remember about this film: it doesn't stoop to cheap thrills but instead stands by its somber, anti-Hollywood approach.

Something else to know about this film; it moves at the speed of reality, that is "slowly" by movie standards. So if you get bored easily, you might want to look elsewhere. There are scenes of dialogue with actual pauses between people speaking, like in real life, how about that? Sometimes there are periods of silence that might make the audience feel uncomfortable if they're expecting some sort of rapid fire, scripted tit-for-tat. But if you're prepared for a voyeuristic experience of watching other people's lives, this nails it. Don't get me wrong; not a single scene is wasted and there's no fluff or filler. It's just that Anania allows the scenes to breathe a little. The pacing is similar to something you might get in from a European director (Kieslowsky, Tarkovsky, maybe Bela Tarr after a few cups of coffee) and the visual poetry is reminiscent of the Japanese masters Kurosawa & Teshigahara with a distinct, hip, modern look (extreme saturation, contrast and exposure) as you might see in Aronofsky or Paul Thomas Anderson. The overall package is distinctly Anania.

And how can I end this without a word about Franco. Although his role may strike you as being smaller than you'd expect (Winona Ryder is the star), each time he graces the camera it's done with so much poise and confidence you find yourself wondering who would win in a cool-off between Franco & Bogart. Hate to admit it, but I think Franco would win by a hair.

The Letter (2012)

Wow, such mixed reviews on this movie. Either all thumbs up or bomb? No, but it is weirdly both terrific and horrible at once. Here's my explanation why.

This is a re-shaped reality movie in the same big (and growing) genre as "Memento" and "Pulp Fiction." As the movie progresses you are made to figure out what's going on in the most basic sense, separating reality from hallucination from moviemaker's trickery. This is a gripping game at its best that draws you into the dilemma from the character's standpoint, and that also messes with the viewer's basic ability to create sense of it for it's own sake.

But what these movies require is a combination of characters you care about and a logic that is purely cemented by the end. The two earlier examples are brilliant at it. Not so "The Letter."

This movie has the bones of an excellent, lower-budget variation on a reality bending plot, but it fails to make the characters significant (or sympathetic in any way) and it never makes the illogic within the movie reasonable.

This might give something away, but near the end a big sweeping explanation is frankly provided by a doctor, and I told myself I've been wasting an hour making sense of what is really a series of fairly jumbled impressions. They don't quite make sense, I think, though you might be able to chart out the various mixed up sections on a piece of paper if you watched it a couple more times. Maybe.

But no one would have the stamina. It's a movie with an exterior of brilliance but it's so stripped down in its other components it's actually, oddly, boring. For one thing, most of the action happens on a theater stage, which allows a kind of reality within a reality (and this ain't new, as lovers of Shakespeare know). Quickly we see that the characters are getting mixed up with the actors—that is, from the point of view of the writer/director of the play in the film, played by Winona Ryder, the expressions and frustrations in the script of the play echo the reality of the real people. When scenes shift (often suddenly) to an apartment or other outside space, the same kinds of personae are at work. The people are the characters.

But they have almost nothing to do, no real baggage to explore, no narrative elements that matter. So there is an implied infidelity (who knows?) and a bit of concern about that, and maybe an infidelity that grows as the film is being assembled, perhaps (who knows?). But so what?

The final insult to all this is that film's low budget feel and its unwillingness to accept that—it tries to look bigger than it is. It's often filmed in a stale way, and then pumped up with tonal effects or with startling (or confusing) edits. You wish it would add up to something, but it doesn't.

Other reviewers have said that it all makes sense by the end. I think not. I think it's explained away at the end, but that's different. And either way it doesn't amount to a hill of beans.