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but its presentation fell flat and grew quite grating. None of the characters were especially warm-hearted and and yet the humor wasn't scathing or memorably malicious enough to be interesting. There were only a couple of quotable one-liners and the situations weren't particularly innovative or unique. When an adult farce filled resorts to multiple moments of scatological humor, there's a problem brewing. In the 21st century - the 'secret' was a letdown. Oz can fill a minute film without many lulls, but some of these characters were downright annoying. Adam Nyman's 'Howard' was an example. His pestering skin problems were never entertaining and his only function appeared to increase the number of problems everyone had to face. Characters like 'Howard' are appealing when a layer of sweetness or tender humanity is revealed...but that wasn't there. Matthew Macfayden's 'Daniel' was the de facto protagonist - but he was portrayed so wimpy and without conviction I couldn't rally behind him. Stephen Fry has a similar appearance - but he brings an authority to his roles that Matthew couldn't match. 'Simon' was silly, not a riot. 'Martha' responded with the personality of a sitcom actress. On the bright side - it doesn't overstay its welcome and Peter Dinkledge is always a joy. If he wasn't so physically limited, he would have been a big star.

After a few years when most cinefiles have had the opportunity to view this perverse (Eli Roth, James Wan, Leigh Wannell should bow to this landmark exploitative realist torture porn exercise)freak show, Blanche Baker's performance as the ringleader of some of the most demented and cruel forms of abuse ever depicted on celluloid. Perfectly cast, this once attractive woman has given into her bitterness and misogynistic hatred. (Did I miss any allusions of her hubby(ies) leaving her for other women?) Any vespice of decency has evaporated. Her skin grows more ragged, pale and lined with each cigarette that mephistocoleanly cascades around her heavily made up face. What makes her so mezmerizing is her command of both language and seductive techniques. The children, some of which are devious to be begin with, fall to Ruth's most primitive primeval desires. Although the film respects its victims to never display any of the sexual abuse on-screen, Ruth's permanent content smile serves the salacious quotient. Oh my, and her voice is god-awful pleasant, delicious - akin to a ripe deep red strawberry sliding down your throat. Although heavy-handed (and apparently not historcially accurate) the movie's visual style impressively mocks the pure, clean-living images usually associated with white-bread 1950's Americana. Outside the cemetery-grey basement, the colors are bright, sunny and filled with the promise of budding adolescence. As to keep the audience horrifyingly subjected to Ruth's hold over the children, certain logical problems of prevention - aka either the children or the system preventing Ruth from caring for so many children - arose. Also, the forment of jealousy inside Ruth over Meg's burgeoning good looks, and other situational contexts are dismissed for intimacy concerns. Ummm...not really sure what the bookended present-day scenes served outside to add some fatuous symbolism. The end credits score should have haunted me more.

What should have been a comedic romp a la 'Sex & The City' with moments of dramatic introspection turned into a hate-filled misanthropic mess. The anthropological voice-over conveniently focused the subject matter and the existential malady facing our heroine. Unfortunately, Scarlett proved once more that although she's a voluptuous figure of epic photographic opportunity, she lacks a buoyant charm to overcome that phlegm ridden congested voice. This was her 'Carrie Bradshaw' role, and she fell flat. The fact she's made too look dawdy and plain doesn't help matters. However, she was not assisted by the dreary subject matter made only worse by the completely unsympathetic drawn-up role of Mrs. X as played by Miss Linney. Outside the opening two scenes, she spends the rest of the film as mega-bitch. And if her villainy wasn't enough, a shockingly hairless Giametti is around to add insult and the excuse for Linney's malevolent behavior. I understand the fanciful attempt of the scenes involving the Mary Poppinesque umbrella - but there's not enough magic in the scenes between Scarlett and 'Grover' for us to care about Scarlett's potential outside the 'X's' home. She doesn't stick up for herself, and there's nary a spark in her eyes. Alicia Keyes's staunch strong presence and voice added some light...but I'm not sure if there's enough acting ability where it can become a day job. The romance is perfunctory.