The Ticket

It's always sad to see good actors in badly made movies, and this is one of those. The story in itself isn't half bad, but there's simply too much to adequately cover in less than two hours. If every plot arc in this movie were made into a TV episode, it would be worth watching. As it stands, however, I found myself questioning the characters' common sense at best and IQ levels at worst.

As for the ending: it's a blatant disregard of the ego; humans simply don't work that way. Just saying.

I don't usually exert the effort to write a review, but it's something of a crime that this movie gets such low reviews on IMDb. The other reviewers are the type of people who feel the need to cast their judgment on a film just because it doesn't fit their very narrow definition of a worthwhile film. Does The Ticket ask more questions than it answers? Sure. But you could hardly say it moves too fast to adequately deal with them. One of the beauties of this film is its slow, methodical pace. And the cinematography alone is worth your time. Don't pass judgment based on this film's reviews and decide for yourself.

A film with many details that lead nowhere, All movie scenes are predictable - and became to me a very slow paced melodrama that, I didn't really enjoy. the dialogue between the characters is dry, not developing, heavy. In general this movie is stuck in a slow is neither interesting nor intriguing.

We all ask ourselves if given the chance would we reach out and grab that lottery ticket if given to us? The idea of everything being handed to us after enduring for so long. Ido Fluk and Sharon Mashihi understand this and perhaps manipulate this into greed and lust - Perhaps? "The Ticket" presents this question, but like most thought provoking questions - This film has no answer for you.

Directed Ido Fluk, from a script written by Fluk and Sharon Mashihi. "The Ticket" stars Dan Stevens (The Guest) as James, a man blind from youth, with a comfortable life with his wife Sam (Malin Åkerman) and son Jonah (Skylar Gaertner). One day he regains his vision discovering he's not happy or contempt with his life - grabbing a promotion at work, leaves his wife for Jessica (Kerry Bishé) an employee where he works, and mistreating his friend Bob (Oliver Platt) one of James's blind co- workers.

Dan Stevens as always is fierce and enigmatic as James. Stevens is careful not to have you sympathize with James and the choices he makes along the way - But to ponder on each choice and wonder what's driving him. See, like each character in "The Ticket" (And there aren't many) they all have something driving them - something they want. Sam is fine and happy with going dancing, rather than an eloquent restaurant. She's also tired and Malin shows this beautifully. James, however, wants more, and Stevens never slows down giving us a moment to blame James for his choices.

Director Ido Flunk beautifully directs, with a unique visual flare centering around James's point of view. Where the film falls would be the predictability of its plot and lack of motivation for its characters.

"The Ticket" is a well made film with a deeply moving performance from Stevens.

Streamed this based on a general interest in following Dan Stevens's post-"Downton" career. Owing to this film's totally amateur sound editing, I could not learn critical information about what these characters were like before the health change that became a key trigger for the whole story. Did not know how and why the marriage seemed to work despite hurdles that many would find crushing, or whether the Dan character had ever before shown signs of an aggressive, competitive personality. I just went from one mumbling, whispering personal scene after another to the not only clear but blasting country songs at the dance venue and totally audible phone sales pitches in the workplace. It's only in the indispensable character-developing scenes that this film leaves us high and dry and totally frustrated.

From his IMDb bio page, it looks as if director Ido Fluk has only one 2011 feature-length film to his credit before 2016's "The Ticket," with short films and writing credits (including this film) and assistant directorships in his history. I cannot see how Dan's early (and awkward for everyone!!) departure from "Downton" has led him to projects this lacking in production professionalism and I hope he can right his ship very, very soon. His and Oliver Platt's work is excellent, but how many times can he afford to risk straight-to-DVD oblivion while groping for a long-lasting film career?