Wake

Brilliant feels inadequate to describe this film. It is beautifully filmed, superbly edited, and amazingly acted.

Basically, it's a film focusing on four brothers, with a shared history of alcoholism and abuse, inflicted upon them, and by them, and their unexpected coming together for a night of celebration, freedom, and finality, that quickly turns on it's heel. Gale Harold and Blake Gibbons will take your breathe away. As raw and intense as it is, there is still plenty of humor, though at first, you'll be hesitant to laugh, but do, because there is plenty to laugh at. When Jack says "what's the difference between pink and purple? The grip!" It really is okay to exhale, and laugh.... It's a real film that doesn't end with some pretty satin bow at the end, but makes you think, and makes you want to see it over and over again....

A very dark, haunting movie but excellent acting, especially by Gale Harold and Blake Gibbons. The four brothers in this dysfunctional family collide by circumstance and the story's spiral downward flow is brilliantly brought about by the superb acting. Lavish sets and locations are not necessary and not missed as the whole pivotal story centres around the childhood home of Jack, Kyle, Sebastian and Raymond. The story is told by the older Sebastian, as portrayed by Martin Landau. A must-see for Gale Harold fans. My mind definitely didn't wander off throughout the whole movie. The range of emotions portrayed is riveting and the actors must have gone home drained. Excellent music score and directing.

This is not a movie that you sit down, watch quietly and then forget about. I just wish to clarify this now. Animated discussions amongst my friends were abound following the screening of this film and to date they are continuing.

I saw this film in the presence of a group of friends, however whilst watching, was unaware of their proximity. From the beginning I was drawn in to the story and remained as such until the credits began to roll.

The film focuses on the relationship between four brothers who, although obviously connected, are of different personalities and spheres of existence. We see into their psyches for brief moments and come to understand their places within the family and the world in which they have carved their niche.

All the actors perform superbly and with a fluidity that enhances the subtext of the dialogue. In particular, Gale Harold (of Showtime's Queer as Folk), in an inspired performance, conveys the vulnerability of his character openly and sometimes, heartbreakingly to the audience.

The director, producer and editor of this movie have much to be proud of, as unlike most films nowadays, all the answers are not displayed to the audience with neon lights flashing. They are carefully hidden within the storyline and camera angles. This aura of mystery seeps through to the audience who find themselves captivated and curious, empathizing with the characters through their own experiences and needing to know how it will all end.

This is a film that I could watch more than once, knowing that new feelings and insights could be gained with each viewing. My only wish... to view this movie again.

The release of this movie was a source of great anticipation for me. For one reason or another I wouldn't make any of the screening for Wake over the last year, so for me by the time I saw Wake I walked out thinking that the phrase "Good Things Come to Those Who Wait" to be very true.

As I think most people would agree, (at least those that go to a movie to actually WATCH the film) Wake is a haunting film to say the least. If you are tired of the mindless, the fluff, the unsubstantial flick that Hollywood tends force feed us, then give this brilliant indy film your $10 bucks. Wake is just extraordinary. Everything from the depth of the storyline, to the interactions between the 4 brothers, to the intimate setting and the inviting yet foretelling music, Wake offers a true movie experience. You get sucked in and taken to places in your own mind that maybe you didn't want to go. But isn't that what movies are meant to do.

Enlighten, entertain, engage you... Well Wake does all of that. But above and beyond all else it was the acting and the depth of the story that got me back into the theater a second time. I knew there was something I missed the first time around and just needed to make sure that I got it all.

The acting is just magic. Gale Harold's acting talent was no great surprise. His talent, his dedication, his willingness to take on the dark, the doomed, the distraught character of Kyle goes along with what I have long believed about Gale Harold... He takes risks in the hopes of growing professionally and perhaps personally as well. Well I hope this role did that for him, because it shows in his performance. For the sake of not getting to flowery ... Gale Harold was magical as Kyle. And for that we all owe a ton of gratitude to one Susie Landau Finch and one Henry LeRoy Finch for convincing Mr. Harold to try his hand at acting and for creating the opportunity to play Kyle ... respectively. I was not familiar with Blake Gibbons until last Friday, but now I wonder why. He is a phenomenal actor who nailed the role of Roy. What I found most remarkable was his ability to go inside himself, deeply enough to bring about this performance. Roy is a character that can be a self-centered prick on one hand, yet clearly loving and caring on another. It is almost as if he battles between the two simultaneously in each scene.

There isn't enough to be said for Henry LeRoy Finch. Its simple really, if it wasn't for his brilliance, dedication, guts and obvious talent, Wake would not be.

I saw the movie at the Queens International Film Festival. I thought it was excellent - atmospheric, beautifully photographed (though the digital projection at the festival was a bit dark), well edited, superbly acted across the board, and (this was an added bonus) well scored. The movie begins with Landau's voiceover (we see him as he types) writing a story of the flashback events. I must say, the prose in his bookend scenes was a bit flowery, and even contained an obvious pronoun error (in fact, I believe there's a moment in later dialogue when Blake Gibbons's grammar is corrected by Dihlon McManne, and McManne - the younger version of Landau - is wrong then too). Finch's script was much better in the the more important departments of dialogue, character, plot, pacing, etc., where it was truly fine.

The premise is that one of four brothers, an escaped con (Raymond), has chosen the family house to rendezvous with his accomplice brother Jack (who brings along a couple of party girls for the road) and abscond with some ill-gotten money. They happen to arrive on the night that the eldest - Sebastian - plans to euthanise their cancer-ridden mother with drugs he has persuaded the youngest brother Kyle to supply. All the acting was wonderful (and it helped that the parts were uniformly wonderful). The characters were each dysfunctional in different ways. The brother who has stayed with the mother to hold it all together (Dihlon McManne) is a weakling; Jack (John Philbrick) is an amoral, sadistic loser; Raymond (Blake Gibbons) is caught between good and evil, a cunning but stupid con man with both a genuine family affection and a sadistic, controlling, larcenous streak.

Kyle, the youngest (Gale Harold) is really the strongest of the four (he has quit alcohol and drugs and holds a job), and the best (he never quite gets away from his best instincts, whatever the provocation). He's also the most damaged (Raymond comes in second). He is haunted by the horrific family past, and he take prescription drugs - apparently to deal with some form of schizophrenia. As the haunted one, he experiences terrible flashbacks brought on by the appearance of Raymond and Jack. It's a very dark film, but very compelling. You have to pay attention to it, and that makes it a real moviegoing experience, where the dark theatre and absence of distractions keep you intent on it. I would really recommend that your first exposure to it be in a theatre rather than on TV or a DVD (unless you watch the DVD on your hard drive from your computer chair).

I want to mention finally that the music by Henry LeRoy Finch and Chris Anderson is very good and atmospheric, and that it is augmented by some original songs by a folksinger/songwriter named Ramsey Midwood, with whom I am not familiar. I have made a note to myself to look for an album of his, because the songs were terrific. Very literate folk songs, a bit like Tom Waits's stuff. I have only one quibble, apart from the flowery prose of the elder Sebastian (McManne/Landau), which is that I didn't need the early exteriors of Raymond and Kyle on their way to the house. I already knew the brothers were coming, and it would have been better to see McManne going about his routine, and get more of a sense of how isolated he was there with the uncommunicative, dying mother. However, the footage of Gale Harold tearing down wooded roads on his motorcycle is something some of you may be glad to see.

How is Gale Harold? Excellent technically, as is everybody - especially Blake Gibbons - but he brings to it all the depth and complexity he brings to everything else. And though he's a mess, and gets messier, there just isn't any way to keep him from being beautiful. And that works for the script, because Kyle has a goodness that none of this ghastly family has ever quite been able to kill, and that at least two of his brothers recognize and, in their own ways, cherish. John Philbrick's Jack is the most unredeemed and unsympathetic, but not the scariest. That's Blake Gibbons's Raymond, who is alternately scary, appalling, and strangely sympathetic. I don't agree with the previous contributor that the Raymond character ought to have been the center of the film, however. He's interesting at all times, but Gale Harold's character is one of those doomed angels - deeply damaged by past events that Blake Gibbons's Raymond doesn't even seem to remember very well. And Harold is simply hypnotic in the part.