Fantasias e Mistérios

Sheryl Lee gets to play a dull-witted strumpet--now isn't that creative! Her supposed love interest, Colin Lane, is no heart-throb, but does get to play a tight-arsed boor. Charles Dance is good and likable, but cannot save this turkey. The decayed, picturesque Latin American village is photographed gorgeously, but the movie is better with the sound off.

The plot was weak, and the story a bit stupid, but I really liked this film. The mood and atmosphere appealed to me. It's set in an old village in a tropical setting, the characters were all a bit mysterious. There's a big psychodrama between all of the characters. You never find out what motivates any of them, but the tension and wondering kept my interest, so I give this an above average rating.

While the acting wasn't fantastic, I found the movie interesting from the point of view of the way the open marriage of Fiona and Cyril was explored, and how it was treated by people viewing it from the outside. And how the new couple of Colin and Catherine reacted in different ways to the ideas presented, and how their feelings evolved.

I think that a lot was left out, and I am looking forward to reading the book to get some more of the background about why things happened they way they did, and what the history of the two couples are.

I'd recommend watching this movie, but keep an open mind, and imagine how you would react, given the situations presented.

I thought this would be a sexy movie but it was not- it was just full of hot air and trite sentiments. I loved his other movie Angels and Insects but this movie was not up to that one at all. The acting was bad and the story was stupid. The only person who was somewhat believeable was Hugh's wife. A waste of time

''My fiction,'' he goes on to say, ''is generally an evocation of the nightmare or terroristic universe in which human sexuality is destroyed by law, by dictum, by human perversity, by contraption, and it is this destruction I have attempted to portray and confront in order to be true to human fear and . . . Ruthlessness, but also in part to evoke its opposite, the moment of freedom from that constriction, from that restraint, and from death.''