Mysteria

I was skeptical to start and 5 minutes into it I turned it off. Maybe I didn't give it a chance but after a phone rings for 45 seconds in a scene I was utterly annoyed. Who writes, directs and produces a film and thinks people want to hear a phone ringing that long?! Torture.

Washed-up former Hollywood screen writing bigshot Aleister Bain (Robert Miano) is living a sad existence in a seedy apartment, trying desperately to finish a script he is months behind on before his agent (Billy Zane) cuts off his funding. The arrival of a beautiful film student (Meadow Williams) coincides with Bain's mixing up with the murder of the wife of a powerful Senator. Two cops (Danny Glover and Michael Rooker) separately try to get to the bottom of the mystery.

The cast draws you in to "Mysteria" and the plot keeps you interested. Miano is the star, and ably performs as a beat up, put down has-been who is thrust into a world that seems a perfect match for one of the scripts he was noted for writing in his past. The countless twists that come from arrivals of new characters keep Bain on his booze-soaked feet to find out what his connection is.

"Mysteria"'s supporting cast is strong. Danny Glover whispers his way through hearing Bain's story, while Michael Rooker proves his underrated worth as the tough Captain who has more mystery than he lets on. Meadow Williams is the weak spot, she tends to say her lines as if they were held up behind the camera. Academy Award winner Martin Landau has a couple of funny scenes as Miano's elderly landlord.

Cinematography and design came together strongly to portray the grime of the setting, which was shot in Los Angeles but never said to be where the film took place. Strategic shots of an empty bottle of booze in the foreground while Bain continues his investigation serve as a recurring motif of what the film is making it's main character out to be.

What keeps the film from a better score is a soundtrack that seemed perpetually off track. A large ensemble score didn't match the interior shots of a grimy apartment. The script rambles a bit too often, especially at the beginning, and might lose some viewers who don't get hooked in soon enough to see a far better second act.

Overall, "Mysteria" is an able, interesting low budget thriller that doesn't disappoint but doesn't really thrill, either.

This is one of those movies not so easy to warm to, as is evidenced by the polarized reviews here. But I found as I got more accustomed to the quirky pacing and flashback/flash forward style I liked Mysteria more and more until it became as they say compulsively watchable. It's difficult to categorize Mysteria: the closest to a broad brushstroke description would be neo-noir, but more specifically it's a kind of existential retro-thriller parody, with lots of B movie overtones, which I suppose is a more circuitous way of saying neo-noir. The story takes place in a Los Angeles-like environ in a frozen, late 80s (or thereabouts) gestalt, but it's all a little vague.

To some extent Mysteria has to be catnip to fans of noir, and of course several noir films are specifically mentioned, including The Killing, the choppy, nonlinear style of which Mysteria mimics. Other films that are referenced, either by design or no, include Dead of Night, and more recently, Usual Suspects, Memento, and especially Mulholland Drive.

Mysteria is well-cast. The familiar names – Landau, Zane, and Glover – have what amount to little more than extended cameos. But it's Robert Miano's movie and he's perfect for the role: he essays the confused, unkempt, unshaven, needing-a-shower, always late, always-smoking-a-cigarette hero in in eminently underplayed style and somehow it works perfectly.

Mysteria pulls out about every neo-noir trope in the book: along with the murky look and labyrinthine plot we have near-caricatures of the sleazy private eye and especially the down-on-his-luck screenwriter (is there any other kind?). Aleister Bain is a gin-swilling, chain smoking, disheveled, onetime success who lives in a low class hotel where he can't pay his rent, and of course he has writer's block. A bright spot in his life is a beautiful blonde film student (played by Meadow Williams) who's his biggest fan and a kind of Gal Friday wannabe.

Ultimately the story leaves quite a bit unresolved, to say the least. And I like that. Maybe I'm just easy to please but I give this one a solid seven stars.

I can imagine that the viewers rate this movie low because of the unanswered questions at the final. Though, for me there are not any unanswered questions and even if you can find the ending very simple you watch the movie without getting bored but with whole interest until the end. One viewer commented that its very similar to Mulholland Drive. Thanks , and congratulations , that's a very correct determination. The movie is about a Hollywood scenarist who want to complete his last script under deadline pressure and a murder investigation around him which inspires him for his script . The acting, the cast and roles are very good and the atmosphere of the movie is simply fantastic. It's a very nice cocktail of suspense and provocation of mind . It's a low budged movie which most strong part is the scenario and i think it reaches the target. Sometimes we all mess up with reality , imagination and our dreams. What's wrong when we get inspired and turn this into a story ? Don't we dream this sometimes? Surely we do..I advice to watch this movie..If you are a movie fan you fill find for sure the taste of a nice movie in it. If you only watch movies occasionally and are interested only for the ending instead of the " taste " maybe you could be disappointed. At any case it deserves a considerable positive rating..

OK. Well, to start with, Mike Rooker, who has p****d me off for DECADES with over-acting, and never quite making it, deserves a supporting Oscar in this. Yes, his script is good, but, at last, HE's good.

BUT

The film is just, I dunno, not quite there. Too clever? Don't get me wrong, I liked it, it left me guessing, but that's just it. The back-story, the narrative in the writer's/director's mind, never quite made it to screen.

I'm left knowing I saw something good, something very good, but somehow, just a little, empty. Unresolved. And I'm not trying to say EVERYTHING should resolve - I mean, hey, I live in the UK - we can't even get the weather right - but.... I liked the film (it's gone from 7 to 8 while I wrote this, and the cinematography, script, acting, are all top notch...)

But then hey. I admired, and was irritated by Mulholland Drive. For similar reasons. Very similar. watch it. Definitely watch it. But don't blame me if you get just a little bit lost when the credits roll.