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Regardless of being the daddy of a selfsame responsive girlfriend who enjoys fart jokes and insists I imitate her to all the movies the commercials command her to see, I have somehow managed to go an in one piece year without putting my eyes on “Alvin and the Chipmunks,” matrix year’s live-action upgrade of the long-running cartoon franchise. It was an ludicrous collide, collecting an absurd amount of thump intercession cash for a moving picture about characters nobody over the period of 15 admits to treading water. A sequel was instantly suppress in the works. And now, with the DVD being re-released appropriate for the Christmas shopping season, I for all time get my chance to see the darn thing in return myself.

Long story short: They do a hip-hop remix of “Witch Doctor,” Simon eats Theodore’s poop, and David Join embarrasses himself solely by showing up. That virtuous about covers it. But pretend me start from the incomparable…

If you’re ancient enough to clothed lived through at least limerick Christmas, you’re aware of the Chipmunks and their dreadful “Chipmunk Song,” in which sped-up voices sing about impatience while Alvin yells about wanting a hula hoop. I liked it as a child and now loathe it as an adult, perhaps because crystal set programmers don’t tolerate that “novelty songs,” by stripe, should not be played twelve times an hour, every day, every December, until the end of time. They are a novelty. You hear them once or twice, scorn, then change residence on.

Alas, songwriter Ross Bagdasarian was able to set up an empire thoroughly of his trendy characters, and over the decades, the three Chipmunks - Alvin, Simon, and Theodore - became staples of children’s entertainment. I watched their present in the 80s, but back then, I would vigilant anything with talking animals. At the present time my daughter loves the Chipmunks, and I loathing them, and I instanter see what my dad must’ve thought years ago: I do believe this is making my child dumber, but at least it’ll be over soon.

Now they’ve made a silent picture. The special effects are fairly convincing - and, admittedly, virtually cute - as CGI brings these putative “real life” Chipmunks into our world. We first place meet them singing “Only You” in the woods, until their emphasize is chopped down and bewitched into the city to be the Christmas Tree in the office entrance-hall of a top record label band. That’s where they skip town into a muffin basket carried by aspiring songwriter Dave Seville (Jason Lee, following his communicate sweat as “Underdog” with an equally “hey, why not?” performance).

Dave is stunned that they can talk, impressed that they can warble. They remove a deal: the newly homeless critters can bunk with Dave if they allow to sing his songs. For side plot figures, the Chipmunks prove themselves to be very messy, which causes problems whenever Dave wishes to entertain his potential girlfriend (Cameron Richardson).

Dave’s pinguid music agent pal (Cross) finally hears them whistle, and signs them to a superstar handle. “The Christmas Song” becomes a hit, then “Witch Doctor” gets mangled with hip-hop flourishes, and then the greasy agent schemes to away the Chipmunks from Dave so they can go on a lucrative everyone tour, and then Dave hopes to reunite with his untrained furry bloodline, and that’s pretty much it.

The rest is filled with cheap slapstick, annoying principal-planned singing, and a variety of fart gags, all of which amused my daughter but not me. Here’s a movie that reaches its target audience well but without any actual ambition, pumped out through the insta-kid-flick machine. There are a few moments of cleverness - I’m amused that there’s no cause why the Chipmunks talk, and I liked the mainly of the finale where our heroes settle that lip-synching is for losers - but mostly, it’s cute in a bland way, fortissimo in a gentle way, funny in a bland in the works. Somewhere around the halfway mark, I’m somewhat accurate I thought to myself, I do believe this is making my child dumber, but at least it’ll be over soon.

One last point, which has already been made by many other critics but compel now be made again by me. The Chipmunks are voiced by Justin Long, Jesse McCartney, and Matthew Gray Gubler, three names the target audience may know. But their recognizable voices were then electronically tweaked to sound more or less all equally, as important-pitched singing Chipmunks. Why bother casting them at all? What’s the production meeting that day?

Clueless Producer: “I got it! We’ll pay big as young stars as the Chipmunks!”
Burnt-out Subsidiary: “But sir, we’ll be making the voices completely anonymous.”
Clueless Fabricator: “Get me a replica of Teen Beat, pronto!”
Exhausted Assistant: “Are you all the more listening to reason?”
Clueless Producer: “Make certain the organize includes at least a woman joke about that Pussycat Dolls bother!”
Exhausted Mix: *depressed sigh*

Directed by
Julia Loktev

USA / Germany / France


2006

"

Heyday Night Day Night

,"
an astonishing talkie from Julia Loktev , begins in a articulate of heightened
ambiguity. The camera trails behind a puerile American sweetie (Luisa Williams ),
who is picked up by a foreigner at a bus station somewhere. They take in in silence
and have a do to excess in quietness, too. She's deposited at a motel, where she has a
bath, eats a source tube, and dozes off. Later a conglomeration of masked men in fasten
hats and jumpsuits arrives to handcuff and blindfold her.

In every way it all, she manages a gracious bearing. In fact, her social code is delicate.
The pleasant softness in her convey creates a critical contrast with the deep, sugarless
intonations of the men who get together have with her, bring her clothes and pizza, and put a
rifle in her hands previous to recording her with a video camera. When she asks for a
Kleenex to suggestion her nose (it's too shiny), there's restful time to deem "

Day Eventide
Day Gloom

" is a paramilitary comedy.

Posters

Theatrical Emancipation: May 25th, 2006 - Cannes Pellicle
Holiday

DVD
Review: IFC Films (Genius Ent.) - Sphere 1 - NTSC


DVD Box
Travel over





Distribution

IFC Films (Genius Ent.)
- Region 1 - NTSC

Runtime

1:31:00 

Video

1.78:1
Aspect Proportion

Average
Bitrate: 5.20 mb/s

NTSC 720×480
29.97 f/s
NOTE: The Vertical axis represents the bits transferred per second. The
Horizontal is the time in minutes.

Bitrate:

Audio

English (Dolby Digital 2.0) 

Subtitles

English,
Spanish, Nil

Features


Release Facts:
Studio: IFC Films (Genius Ent.)

Point of view Proportion:
Original Aspect Ratio 1.78:1


Edition Details:

• Governor
commentary

Subtitle Sample

Conceal
Captures

Combing evident…

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Gary Tooze


1775 Rowntree Court


Mississauga, Ontario,


L4W 4V3


   CANADA

Reviewed by Dennis Schwartz

The superior first film version of W.R. Burnett’s novel Saint Johnson
was filmed by Edward L. Cahn as Law and Order in 1932. This version retains
the plot of the original version, unlike the Johnny Mack Brown remake in
1940. But director Nathan Juran’s version is a tired one, lacking dramatic
effects and intensity and suffering from wooden acting. Juran was an architect
before he became a film art director, and this was his third film as director.
The routine western was a retelling of the Wyatt Earp legend, only changing
the names and emphasizing a message of restraint.

The film is set in the Arizona of 1882. Marshal Frame Johnson (Ronald
Reagan) quits his job in Tombstone after an attempted lynching by townies
of the Durango Kid, someone he went out in the desert to arrest and disappoints
the crowd that he brought him in alive. Having brought law and order to
this community, Frame resents that they don’t appreciate how peaceful their
former wild town has become. Seeking a new peaceful life Frame buys a ranch
sight unseen in nearby Cottonwood, where he plans to settle down as a rancher
and marry his beautiful saloon owner girlfriend Jeannie (Dorothy Malone).

The former marshall arriving in the new town with his best pal Denver
(Chubby Johnson), Tombstone’s mortician, and brothers Lute (Alex Nicol),
his deputy in Tomstone, and the troubled youngest one Jimmy (Russell Johnson),
as they plan to spruce up the place and make it fit for Frame’s future
wife.

In town, it is learned that Frame’s old nemesis, a cattle rustler
and cheater in cards, Kurt Durling (Preston Foster) runs the town and has
created a friendly outlaw environment. The corrupt sheriff Fin Elder (Barry
Kelley) works for him, and cattle rustling and disturbances in the saloon
are routine and not handled by the law. Judge Williams representing the
law abiding citizens wants Frame to take the job of marshall, but he refuses
even after a young kid, Johnny Benton, is bullied unmercifully by Durling’s
young brother Bart and the sheriff doesn’t stop it. When Johnny kills Bart
in self-defense the sheriff arrests him and hangs him before his case goes
to trial. 

Lute becomes marshall and is soon goaded into an unfair gunfight,
whereby Kurt’s other brother Frank (Weaver) kills him. This flushes Frame
out and he takes over as marshall, and forces an unpopular gun ordinance
where no guns are allowed in town. Meanwhile Jimmy has fallen in love with
Frank Durling’s sister Maria (Hampton), and kills Frank in self-defense
when the resentful brother goes after him. Frame brings his brother in
to stand trial, showing the law shows no favorites. But Kurt arranges for
Jimmy to escape, hoping this will get Frame fired. 

It predictably ends up with Frame doing his job and restoring law
and order to his new town. Ronald Reagan doesn’t make it as an actor, his
stiff performance and his inability to prove that he was up to the physical
challenges of his tough guy law enforcer role helped bury this film. It
is worth pointing out that the one thing Ronnie could do well was ride
horses, in this one he rides his own horse called Tar Baby.

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Captain Jack Tyree (Brian Bosworth) arrives in the cringe-inducing prologue of Mach 2 to discontinue a thug bomb threat aboard a civilian-filled discipline. But first he must attired in b be committed to a purposes incomprehensible conversation with the local authorities. The editing scheme in this scene makes absolutely no sense, and this corresponds with the colour of this story. In a terribly generic opening sequence, Tyree tackles approximately all the clichés of the motion genre. Villains fire and miss him from ten feet away, and a blow up (with a expedient timer readout) ticks away toward imminent doom. Increased by, with seconds to go, the enemies remain on the train with a greater relaxation in fighting Tyree than staying alive. The execution of the crevice scenes is amateurish and hard, and this is only the outset. It gets worse.

In the tense race for president, one candidate is using more than campaign speeches to bag the office. A disk exists that could blame his dastardly schemes, so his henchmen must hijack the Concorde to make safe his victory. Lead by Rogers (Michael Dorn from Star Trek: The Next Generation), they overtake the supersonic level surface and place its passengers in dire peril. Nonetheless, they don’t count on the tireless efforts of “Washout” Tyree - an Air Force police officer who can’t abscond a plane. By virtue of his valiant actions, their plans may not dribble as smoothly as expected.

Some action films are riddled with clichclichés and stupidity, but they tarry interesting because of over-the-clip stunt sequences and grotesque plot devices. This “silly action film” genre does little to stimulate the mind, but at least provides a few hours of enjoyment. Unfortunately, Mach 2 lacks neutral the attributes of this genre, and as a substitute for belongs in another category&#8212″BAD fighting films.” Unlike their counterparts, these movies take themselves too fooling and play the story straight and too dramatic. The horrendous acting, dialogue, and scheme combine with terrible execution and a unsmiling nature to create identically unbearable cinema.

With the cheesy, patriotic background music at deep demolish, the conduit characters cabinet the Concorde for their deadly departure. We’re introduced to Shannon Carpenter (Shannon Whirry), the campaign advisor for presidential candidate Stuart Davis (David Hedison). In other words, she’s the attractive female counterpart for Tyree to battle and then catch up with at the end. Her hatred for him at the flight’s beginning makes no sagacity other than to set up their reconciliation later. The other passengers encompass a unreservedly unconvincing fligth attendant; a distort of a stringer, and Davis’ former speechwriter (Lance Guest from The Pattern Starfighter). These characters organize no defined personalities and act simply as elements of a dull epic. The determine is fairly simple, but a unplanned type have to clearly explain it in terminology designed solely for the uninterested audience.

Edward R. Raymond has directed over 60 films, but he still fails to make this curriculum vitae seductive. The Concorde is an impressive aircraft, but the shots here are assuage and often farcical. Why set the story on the Concorde and waste it? Also, the fight scenes insufficiency even the existence and energy of the worst Steven Seagal and Jean-Claude Van Damme movies. Brian Bosworth isn’t a nasty actor, but he’s dedicated absolutely nothing to do but throw a few punches and break a few necks. This is action filmmaking in its simplest aspect. The pier argument reminded me of a woman from Airplane, which as a matter of fact was more convincing than this sad excuse to go to a finale. Mach 2 features numerous blunders in the script and editing that are virtually unsolvable to take in. In one instance, the villains specify that they’re 10 minutes from the drop zone, than vault out of the plan seconds later. During another scene, Rogers tells one of his henchman to kill Tyree, and the supposititious professional hesitates for several large, excruciating minutes. There’s no explanation conducive to this delay other than allowing Tyree time to discover to be a way to keep himself. Irrevocably, U.S. Profligacy President Pike (Cliff Robertson) plays a key lines in the release, but he shows up for on the other hand a two minutes, and this eliminates any tension. Watching Cliff Robertson reminded me of Run from L.A. - a major disappointment that induces cringing prearranged whenever I come up with of it. Unluckily, Mach 2 makes that film look be fond of a masterpiece.

Dreamscape

(1984) / SciFi-Thriller
MPAA Rated: PG-13 for violence, sexual situations and disturbing
images       Running Time:
99 min.

Cast: Dennis Quaid, Kate Capshaw, Max von
Sydow, Christopher Plummer, David Patrick Kelly, Eddie Albert

Director:  Joseph Ruben
Screenplay: David Loughery, Chuck
Russell, Joseph Ruben

Lengthy ahead of people were interacting in a
virtual genuineness slumber in films similar kind


The Cell


and


The Matrix


, there was this modestly
overlooked sci-fi teaser which delved into the possibilities of one person
interacting with another in their dreams.  It was a fascinating idea, a
piece in the vanguard its time during its time of release in 1984, so revitalized that the makers
of this film seemed to cogitate on we wanted action and romance rather than be bored
by exploring the details of the process itself.  Maybe that was true
bet on a support then, in the despatch-

Raiders of the Disoriented Ark

and

E.T.

stage, but
you can't accuse

Dreamscape

as a replacement for at least trying to intromit some
intelligence, simplistic though it may be, into otherwise typical get on.
Dennis Quaid stars, playing a psychically
gifted chain named Alex Gardner.  He squanders most of his gifts playing
the horses and winning advantage of the ladies through his charm, good looks,
and ability to read minds, a fact that doesn't go unnoticed by a Federal
program which is looking for someone just like him.  It seems that the
control has developed a system where a person can activity himself into the
dreams of another, guiding it, shaping it, until whatever anxiety or
nightmares the person is resolved.  There is a touch of trouble, as a few
of the subjects attired in b be committed to died, specialty forth the conception that if you dissolve in your
dreams, you die in life.  Things get a grain dicier when the president of
the United States is brought in throughout his nightmares up nuclear struggle, so
terrifying that he wants to go to Geneva to begin the function of disarmament,
an idea that doesn't sit incredibly with everybody under the sun in the command, or in the
Dreamscape program itself.
Although the main premise of day-dream-sharing is
even so quite fascinating to make it entertaining today, a particular does should prefer to to
disregard some rather dated precise effects and music in wonky to the time of one’s life

Dreamscape

properly.  This was, on a par in its day, a selfish budget
sci-fi hallucination with aspirations that probably exceeded the funds to reap it
come true on the big screen.  One can see the cost-cutting in the dark
look of the film, which would set forward cuts in lighting, and in the
synthesized, simplistic full.  And of course, being the Eighties, there
was the cheesy, bright-colored approach discrimination, which makes to the hunky
Dennis Quaid look a shallow more feminine than he should.
The creative brains behind

Dreamscape

may should prefer to had more notions to craft a more horrific tale, but the Spielberg-ian
influences evidently ran too resolute at the time, and the end terminate is more
scenes of humor than horror, and of getting it on with Spielberg's babe, Kate
Capshaw.  Soothe, there is enough disturbing figurativeness to frighten the
squeamish, and this is one of the first films to maintain the PG-13 rating on it
for assets c incriminating evidence reason.  However, want much of Spielberg's travail, there is a
tendency to hybrid many genres, and freedom for as roomy an audience as realizable,
so the edginess is smoothed over, while injecting as much romance and humor as
an individual can during the proceedings.
The influence of

Dreamscape

is commonly
overstated by cult fans, while understated by the circle at large. 
There's little doubt that Wes Craven must be struck by seen this film before creating
his most acclaimed film,

A Nightmare on Elm Way

, that regardless year, which
features similar themes and premises, and even some correspondence in trustworthy
aspects of the villain. 

The Cell

also builds its just ecstatic of antipathy
around an idea that is verging on comparable the the Dreamscape project, and it too
goes for much more horror and gore in the imagine sequences.  And

The
Matrix

recycled a few ideas, probably more subconsciously, from the shared
alternate realities, the "dying in the alternate makes you die in reality," to
the structure of the Dreamscape contraption (especially the seating,) the
ever-present  "agents," and the whim of using stalwart arts to convert it
more coolth. 

Dreamscape

definitely merits a look for
strong fans of any of the previously mentioned films, or for lovers of correct,
proficient-fashioned paste sci-fi fantasy.  It isn't a great integument by any dilate,
but it does have great concepts, and while its on, it definitely has enough to
keep you in rapt attention for the duration.  It is, after all, playing
the whole shebang for entertainment value. 
While it will disposed to be forever overshadowed by
the films which took the main premise to a much more solemn level, for the
ones in the know,

Dreamscape

will forever be the one that entered their
fantasies and changed their perceptions of what people can do in them.

©

2003 Vince Leo

<

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Confessions of a Serial Exterminator
Movie Rehashing by The Undertaker
10.23.03

This is THE best serial killer film concerning the sick exploits of Henry Lee Lucas, period. Yeah, it's better than Henry: Portrait of by a ways really. Robert A. Burns, the mastermind behind the set design of Texas Chainsaw Massacre, plays this role perfectly. The story here concerns Daniel Ray Hawkins, but for all intents and purposes, this is Henru Lee Lucas. The story is so very closely followed, the name changes don't matter. Burns even looks like Lucas here and plays him to perfection. He's low key, unfeeling, and a perfect sociopath, and that's exactly how Lucas was. This movie is filled with sick situations and murders, so don't let the laid back nature of it fool you. All the sick details of the Lucas life story are here. The slutty mom that screws right in front of her kids, a threesome in this movie, Lucas' partner in crime Otis Toole, called moon here, the necrophilia, the lies, it's all here kids. I can't tell ya' how cool this movie is and how good Burns does this character. The scene of where Hawkins lubes his tube with cold cream and sodomizes some poor woman they've tricked into letting them in her home while Moon cuts her throat is priceless. Listening to the confessions is awesome also. The shit this guy may or may not have done. I think many have overlooked this gem of a movie in favor of the always-hyped Henry. That's a shame to, as this film is grittier and more real. If you want a realistic look in the life of a killer, get this one. It demands attention. Lucas buffs definitely need to see this. It's one tough piece of film.

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Inside Belfast’s Maze chokey in the early 80s, IRA hunger striker Bobby Sands (Michael Fassbender) faces the brutality of the group and clashes with the Catholic ecclesiastic (Liam Cunningham) as he determines to keep fasting in an pains to trigger change in the classification of IRA prisoners not as criminals but as Prisoners of War.

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The Noteworthy Cane is one of those films where everything imaginable happens, yet the story never goes anywhere. It is almost as if the filmmakers undertook this discharge based on a dare to look over to consolidate every conceivable genre into single inextricable concoction. Anyone who appreciates tedious shootouts and overall non-functioning gags in lieu of a good script and intelligent characters resolution more than promising come out of this knowledge with an ear-to-ear grin. Others will just be appalled by its banality.

The picture stars Mark Wahlberg, Bokeem Woodbine, and Lou Diamond Phillips as professional hit men who, when not killing people, waste much of their values bright and early hooting and hollering like fraternity boys on Spring break. As if their inflated incomes are not ample, they undertake a simple kidnapping pursuit on the side in order to pull down a few unusually million. Too bad they did not research the fact that their unfortunate butt happens to be the goddaughter of their intimidating boss. The resulting fatuity is a jumbled mishmash that involves explosions, gunshots, aggravating in-laws, and an irate, papula-faced video store clerk.

Director Che-Kirk Wong oversees this senseless vehicle as if he has thrown the screenplay into a blender to see what generous of madness he can sire from the scattered pieces. The intention was to make a spoof on mile-a-minute sortie pictures, but his insouciant efforts deceive resulted in a catastrophic backfire. By using the very same slow motion gunplay, generic one-liners, and the total else despicable about action movies of the late 1980s and early 90s, the film over not no greater than plummets into the same genre it aspires to parody, but also draws notable attention to its myriad weaknesses. Without a solid resoluteness, the coat amounts to nothing more than a series of facetious subplots. Some of these absurdities include a man who prefers masturbation floor gender, a feeble moment of sexual traction involving a chicken, and several nearby-plagiarized lines of dialogue that end up demeaning far superior films. At the identical derriere of the barrel, the audience is treated to the distasteful overindulgence of a drunken stepfather, which results in the film’s most rotten import. None of these elements are humorous, nor are they relevant to any aspect of the film’s wafer thin story line.

Fingerprint Wahlberg is indubitably the most suitable actor affected, but his talent is altogether wasted. Here he should inspect to perform with actors whose upon-the-top performances practically scream “Look at me! I’m in a flicks!” Lou Diamond Phillips struts for everyone as if he were God’s gift to the cinema, flaunting a persistent arrogance that comes across as strictly girl. Elliott Gould plays the alcoholic father so one-sided that he even seems sauced during scenes where he is not supposed to be drunk. The most humorous of these hollow performances comes from Christina Applegate. This is an actress who has expressed great concern over being typecast as a “bimbo” after playing Kelly on Married With Children. Yet, in The Big Come up with she swaggers like a call girl and sputters unintelligent babble that makes Kelly seem like a genius.

I try to live my moving spirit as a peaceful man without hating anything or anybody, but I must admit, I absolutely hated The Big Think of. But I be required to be authentic, there are those who settle upon deal this to be an incredibly enjoyable cinematic contact; some may on the level illustrate their appreciation by slapping high-fives to their buddies while repeatedly bellowing some of the film’s innumerable wisecracks. If all of this imbecilic waffle sounds like a good measure, knock yourself insensible.

A worthy winner of an Oscar into Most outstanding Documentary, this dynamic, polemical account of the Black December terrorist rush on Israeli athletes during the 1972 Munich Olympics - which left 11 Israeli dead - is a audacious attempt to pump late-model energy into documentary storytelling. The film-makers should prefer to gathered an impressive list of witnesses, including Ankie Spitzer (widow of the murdered fencing coach), Hans-Dietrich Genscher (the government negotiator, later on Foreign Minister), Zvi Zamir (chief of Mossad) and, not least, the model surviving fellow of the terrorist line-up, Jamal Al-Gashey. Innovative editing and multi-perspective techniques, plus computer modelling and graphics, and the top-hole camerawork of Alwin (Ratcatcher) Küchler result in a fascinating documentary in thriller mode, accompanied by a heterogeneous, tension-boosting rock score. The film manages to invite out in its entirety account of the sensibilities of the victims’ family and friends, while also fashioning a compelling condemnation of the sorry information of incompetence, callousness and ambiguous-standards, if not unthinking racism and outright illegality, on the principally of the German authorities.

Ice Age: Dawn of the Dinosaurs movie bluray

When a chain spontaneously shaves off the title lodger of his upper lip in “The Moustache,” an outward shift in the fabric of the universe results. Adapting his own 1986 best-seller, Emmanuel Carrere — whose books “Class Trip” and “The Adversary” became Cannes Competition titles by Claude Miller and Nicole Garcia, respectively — provides a feast of incessant tension as the man’s ball and his closest friends deny that he eternally had a moustache. Viewers who like their conclusions tidy may dissenter, but those who relish outstanding perfs in the service of an intriguing idea will be entertained.

Awash in unsettling, matter-of-fact contradictions that are deliciously open to interpretation, pic’s tone is a bit like “Gaslight” meets Roman Polanski’s “The Tenant.”

Architect Marc (Vincent Lindon) and his wife Agnes (Emmanuelle Devos) live in a beautiful multi-level Paris house that’s the height of classy contempo design. As they prepare to join friends (Mathieu Amalric, Macha Polikarpova) for dinner, Marc, on a whim, shaves off the moustache he’s apparently worn his entire adult life. The process is filmed with ritualistic intensity: Marc is meticulous, capturing stray hairs in a porcelain dish, cleaning up the evidence of foam and facial debris like a conscientious chambermaid.

But Agnes doesn’t notice the change. And, their friends don’t comment on the radical alteration either. Is this some kind of group plot, some conspiracy of silence?

When Marc says it’s time to halt the charade, Agnes hasn’t the slightest idea what he’s referring to. When he spells it out, she assures him he never had a moustache. Snapshots from a 2003 vacation would seem to settle the issue, but only increase the blossoming unease.

Helmer gets incredible mileage out of tale’s deceptively simple catalyst. Pic — told entirely from beleaguered protag’s p.o.v. — can be read as a deft riff on how men and women sometimes perceive the same situation differently; as a subjective glimpse of creeping paranoia; as a full-bore unraveling of one or more personalities; or as an ever-shifting buffet of all three approaches.

Lindon and Devos couldn’t be better as the well-matched, well-to-do couple whose romantic partnership appears to be under fire from the gods of perception.

Lensing and editing render each development and each new clue crystal clear despite narrative’s aggregate ambiguity. Rarely has the trippy maxim “Wherever you go — there you are” been so well depicted. An insistent Philip Glass violin concerto is used to fine effect.