LFO

I just watched LFO yesterday, and boy was I satisfied. At the time of writing this review there were only two other user reviews - which I agree with; this Sci-Fi film is dark, comedic, serious, and a tad psychologically disturbing at times (not so much that I would tell anyone to stay away). I wouldn't really consider this a dark comedy despite its comedic moments, since I felt a more serious tone to the movie.

I think the plot is well described and the other reviews encompass a lot of what I feel so I'm not going to elaborate on any of those. I really just want to say that I gave LFO a 7 because that is what I feel most people would agree with, but after viewing it I personally feel it's an 8.

It kept my attention while I was trying to determine the fate of Robert, Simon, and Clara, but I walked away from this movie feeling as though I was hypnotized myself. I couldn't stop thinking about LFO for a good hour after completion, which typically wins me over.

Watch this movie. Hopefully it's still on Netflix when you read this review, but it's totally worth paying for.

After Zoo I needed to see this and I wasn't disappointed! Cleary this director and writer has a unique voice. Not sure which one I like the best. Both are great. This one darker and more sinister but still with the same black humor as Zoo. Love it!

There's a decadent fantasy here and the audience might just want to relate or vicariously share the main character's enjoyment of his power. And the film is also just original and quirky enough that I was tempted to go up to eight stars. However, it's also a bit messy and at times unsavory and, well, just isn't going for eight starts. It set out to be a full-value, I-am-what-I-am, dirty-secret seven.

This has to be one of the worst flicks ever. I took a shot, rolled the dice so to speak and lost all my money I thought the whole story was pretty stupid actually. It appears I am in the minority, one man's junk is another man's treasure, so to speak It wasn't creepy or scary or bloody or any of those things, just bad.

Actually, LFO is an acronym for Low Frequency Oscillation, but it is also the delightfully Heath-Robinson story of the excellent Patrik Karlson's troubled acoustician and his increasingly obsessive behaviour. Writer/ director Antonio Tublén (who also wrote the electronic score) has fashioned a fine morality tale that (as good writing dictates) is plausible after the initial conceit is accepted. The film's tone is cold, it is almost emotionless and often claustrophobic, but this only multiplies its effectiveness in provoking the viewer's contemplation of increasingly challenging events. Karlson is ably supported by forthright performances from Izabella Jo Tschig and Per Löfberg as his neighbours, and Ahnna Rasch as his wife. In a landscape of modern cinema in danger of becoming dominated by endless high-rise multiplex pap, it's refreshing to discover such oases of intelligent and thoughtful film-making as LFO, and you owe it to yourself to see this film, if only to recharge the batteries of your Bay-sh-t detector.