L'heure du crime

First of all, the performance of "Kseniya Rappoport" in the role of Sofia is remarkable. The strong point of the film is avoiding extremism to attract the audience in the manner of cinematic techniques that are seen in most films in this genre. The film consciously avoids emotionalizing the audience. It does not give slogans of moralism. The end of the movie is different and good. Moreover, the soundtrack of the film is well prepared. Overall, it's an average movie, but this movie and the movies before it show the promise of a tasteful director. At the Venice Film Festival, the film has received attention.

The basic plot is sound; Sonia (a Slovenian immigrant) and Guido (an ex-policeman) meet and connect at a speed dating event, they start a relationship, then an unexpected happening changes everything, including what we know (or seem to know) about the characters and their motivations. Unfortunately, the script throws in a number of unnecessary red herrings and intentional misdirections. Some of them are just distractions, some are not even explained at the end, at least one is not explainable. Not a good thing in this kind of movie.

On the positive side, direction by Giuseppe Capotondi is fluid and dynamic, acting is excellent with special mention for Russian actress Kseniya Rappoport, who is on screen most of the time. One cannot avoid feeling that if the script had been edited and unnecessary complications pared down this could have been a first rate movie. As it is, one remains unconvinced and feels manipulated at the end.

Argentine nostalgics will enjoy a photographic view of Puerto Madero, one of the touristy spots in Buenos Aires.

All I can say about this film is that it ultimately made no sense to me whatsoever. Perhaps I'm just not smart enough for it, so go ahead and watch it and judge for yourself. If, at the end, you feel like you've completely wasted your time, then we're in the same boat, and I apologize for not having prevented you from watching it.

The Double Hour is a very interesting film. One of those rare pictures in which every scene counts. It's hard to review it without spoiling anything, since a lot of it's brilliance lays in a very surreal and terrifying sequence of events. The film is a lot of things; a twisted thriller, a unique and intense romance and a character study of two different individuals who find exactly what they need in each other. It works on every level that it attains towards, thanks primarily to a very intelligent script and superb performances from Filippo Timi and especially Kseniya Rappoport. The film has a lot of twists and a lot of, "what the hell is happening?" scenes, but thanks to the script it never gets too far ahead of the audience. It's easy to stick with, while still being intellectually stimulating. I wasn't bored for a second, from the huge shock of the opening scene until the interesting final one. There's a lot of great aspects that are involved throughout, the film really knows how to give it's two main characters some very emotional and enlightening arcs. They both go through a world of emotional distress and in the end they are completely changed while remaining in the same basic place that they started off. It asks a lot of questions and leaves the audience to debate them long after the film is over. Can you ever truly trust someone? What is the nature of revenge? How do you move past losing a loved one? There are many more and the film keeps you guessing all the way through. Tons of twists, great characters and interesting moves from a structural standpoint. It's a very unique film and a very fantastic one.

This film is mildly recommended.

I miss Alfred Hitchcock. His films were carefully constructed thrillers that would rarely let the moviegoer down. His pacing, editing, camera angles, and most importantly, his script, kept logic intact while entertaining and building suspense. There were always concluding set pieces that became memorable parts of cinema history: a chase on Mount Rushmore, a runaway carousel, a fight aboard a high speed train, an attack of stark-raving mad ravens. As I sat watching the Italian import, The Double Hour, my thoughts yearned for his deft director's touch on this film's intriguing premise.

Directed by newcomer Giuseppe Capotondi, the film stars Kseniya Rappoport as Sonya and Flippo Timi as Guido, two lonely sorts who meet at a speed dating seminar. She works as a hotel maid and he is an ex-cop turned security guard and both sense a real instant connection there. That's the beginning of a complex labyrinth that held my complete interest for about three-fourth of the film's length.

This off-beat thriller that becomes more ominous and intriguing every second with plot twists and startling reveals in its intricate plotting. There are twists galore, some minor, some major, and I enjoyed the conceit of the filmmaker in toying with his audience.

Now I love a good mystery and this is one, that is, up until the last few minutes when the mystery unravels and so does all reasoning. Actions are so out of character with Sonya and Guido's arc that the film defies rationality. Incidents that occur in the beginning of the film become random thoughts and really have no bearing in the maze-like structure of the story. The final shot made little sense to me when trying to decode the scheme of events prior to that ending, leaving me with a bitter taste of regret. ( Plus, no memorable set piece is on display when one could have been added in the airport scene to full effect.)

The movie tagline for The Double Hour reads as follows: A Romance. A Robbery. A Mystery. All that is true, and for the most of the time, the film does successfully involve the moviegoer. But, unfortunately, the film ultimately disappoints in the last half hour of the film when all the logic gives way to a very unsatisfying ending.

Sadly, I felt double-crossed and cheated when the end credits rolled. Yes, Alfred would have ironed out all the plot kinks before filming this exasperating thriller. Why have your audience invest their time and emotions in all of the film's intricacies when your overly convoluted plot becomes the major obstacle to the mystery itself. The Double Hour is second rate Hitchcock at best. GRADE: B-

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