last movie you watched

[Greystoke]

I need to get around to Peter Pan and Wendy. Peter Pan films seem to be rather hit and miss, although I rather liked the 2003 version with jeremy Sumpter and Jason Isaacs, and the ITV version, Peter and Wendy from Christmas 2015 was better still, I think - a shame it hasn't been shown much since, actually.

This week I've been watching the TV series Castle Rock, which is just about holding my attention, but I fear it might waver in the second half of the season.

I see Indicator/Powerhouse have really taken over from Eureka when it comes to classical Hollywood releases. Their July slate features Song of Songs, The Night Has a Thousand Eyes (which I have in the US edition, but didn't like much), Jet Pilot, and Thunderbolt, which I think is their earliest film, coming from 1929. I had that on my wish list as a US import, but will await for the new UK edition instead.

That's such a great slate from Indicator. It's good to see some Paramount titles on there, which hopefully bodes well for some films that might see a new release or even their debut on Blu-ray. And if Indicator does have a long-term deal with Paramount, I would expect more themed box sets, which would be great to see. This being a particular specialty of theirs.

I see Arrow are doing a deluxe version of Hugo, too, on 4k and blu ray editions. While I don't normally double-dip, I probably will on this occasion as there's an issue with my blu ray of the film towards the end, so I'd like that corrected as it's a lovely movie. Only a US release, though, which is annoying. might have to import that one.

I really liked Hugo, too. I don't think I'll buy the deluxe 4K, but it's a film I'll probably buy on 4K at some point.

[Walter Hale 4]

Watched "Only God Forgives," with Ryan Gosling, Kristin Scott Thomas, and Vithaya Pansringarm. Overall i found it as an incredibly stylish production. But also a very violent, slow-moving one.
The movie certainly had it's moments

Interestingly to read that the IMDB given it a below average rating on 5:7, which was a bit harsh i thought...


Anyone here seen and either like or dislike Only God Forgives ?


Spoiler alert...

https://www.imdb.com/title/tt1602613/

[Greystoke]

Watched "Only God Forgives," with Ryan Gosling, Kristin Scott Thomas, and Vithaya Pansringarm. Overall i found it as an incredibly stylish production. But also a very violent, slow-moving one.
The movie certainly had it's moments

Interestingly to read that the IMDB given it a below average rating on 5:7, which was a bit harsh i thought...


Anyone here seen and either like or dislike Only God Forgives ?


Spoiler alert...

https://www.imdb.com/title/tt1602613/

Here's what I said about God Only Forgives when I saw it in 2013. I don't think I've seen it since and on reflection, I thought I may have liked it a bit more. But I'll have to give it another look.

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[Greystoke]

I watched Fear City last night, which is a film I hadn't seen since the 1990s. Abel Ferrara's thriller centered around Times Square strip clubs where a serial killer is targeting the dancers.

Ferrara's frequent collaborator, Nicholas St. John, wrote the screenplay, which seems inspired to some degree by film noir, although the film is punctuated by expected doses of violence and nudity. With Tom Berenger starring as a talent agent for the dancers, Melanie Griffith as one of the dancers who previously dated Berenger's character, and Billy Dee Williams as a hard-nosed cop.

The film provides a good look at New York City during the early-eighties, with welcome location work throughout. But the script is wanting and Ferrara is primarily concerned with the superficial, which isn't effective enough when there's no tension, mystery, or characters worth investing in.

One of the film's major missteps is quicky revealing a serial killer who is poorly defined and lacks any kind of motivation, other than being seen in his studio apartment where he works out and is writing a book. Then skulking in the shadows before pouncing on his next victim who is assaulted with elaborate movements designed to emphasise an obsession with martial arts.

Berenger is fairly well cast in his role as a former boxer who once killed a man in the ring and has a past with the local mob, although Raging Bull-inspired flashbacks are poor, whilst Melanie Griffith is miscast as a stripper who has about the same stage presence as an ironing board.

These characters, however, have past, which is explored to minimal effect, although Griffith's character is also in a relationship with another stripper, played by Rae Dawn Chong. Whose role is also underwritten. As is Billy Dee Williams' role, although he does try to inject some personality with his bull in a china shop performance.

It isn't a good film and Ferrara doesn't seem to have a handle on bringing any kind of harmony between the story he wants to tell, or the type of film he wants to make, and the kind of film he specialised in at that time. Especially when directing actors wasn't a strong point of Ferrara's. Good score, though. Which again evokes a different era. But this type of film has been done a lot better.

[Greystoke]

I watched Flashback this morning, writer-director Chrstopher MacBride’s second film, which caught my eye when looking to see what Dylan O'Brien has in production. This film, from 2020, passed me by completely it seems.

It's undoubtedly inspired by Christopher Nolan, with O'Brien playing a young man struggling with his mother's diagnosis of a severe mental impairment. He can't come to terms and can't focus, before a turn down a wrong way street and an encounter with somebody that's homeless, leads him down a rabbit hole into his past.

It's stylised and frenetic, with overlapping narratives, match cuts, and hallucinatory cinematography as O'Brien's character tries to find out what happend to a girl he knew in highschool. A girl who, along with two other friends, dabbled in a new drug called Mercury.

It's Nolan-inspired, as mentioned, and I was reminded of Memento in some respects, but also classic film noir, such as The Woman in the Window or Laura. At least with regards to the film's overall premise. Although the pile up of ideas and imagery in the absence of substance strips the movie of any real jeopardy or the feeling that anything is at stake. Perhaps other than the lead character's job, which may or may not be real. Or may or may not be part of his real existence.

In its favour is O'Brien as a sympathetic lead, and I felt as though MacBride kept a handle on his vision in spite of what doesn't work here. And whilst meticulous to some extent, other characters are quite vacuous and are more types than people, although the mystery girl is somewhat of a cipher. I did like the film's score and there's an attempt to provide an emotional payoff, but I was largely underwhelmed and left watching more than engaging or feeling.

[Greystoke]

I watched Knight and Day this afternoon, James Mangold's 2010 romantic action comedy which stars Tom Cruise and Cameron Diaz, with Cruise playfully doing something slightly different with a persona and plot that isn't far removed from the Mission Impossible movies.

But the tone is very different, with this being the type of film that was rarely made around that time, but have become quite popular again today. Cruise is superb and Diaz is ideally cast as the woman who is unsuspectingly pulled into an espionage caper involving a battery-sized power source. Which Cruise has and other parties want.

The script doesn't hold many surprises, but it's brisk, with solid direction from Mangold and Cruise on a charm offensive as he elevates every scene. Diaz more than holds her own as a mechanic whose skills aren't exactly put to use, but her character is switched on, funny, and able to develop as the film progresses.

The how and why doesn't really matter a great deal, and whilst there's a ton of exposition in the final act, the film only suffers and grinds to a halt when Cruise and Diaz are apart. Although they're practically joined at the hip as the plot takes them from Boston to New York, Austria and Spain.

There's a funny running gag with Diaz's character being drugged to allow Cruise to dispatch with assailants whilst taking her safely to the next destination. And this is nicely turned around later in the film. Good stunts and visual effects, too -- although the visual effects are showing their age now. The cast is also pretty solid. Including Paul Dano as the boy genius who invented the power source, and Viola Davis, who is always great as authority figures.

I had a lot of fun revisiting this one.

[Greystoke]

I watched Get Out again tonight, which was one of my favourite films from 2017, and on what's probably three or four subsequent viewings now, it hasn't lost any of its power or ability to remain gripping throughout.

It's also one of the most assured directorial debuts of the past fifteen or twenty years, with Jordan Peele, who also wrote the screenplay, crafting a chilling and thoughtful satire on racism, with Daniel Kaluuya making a mark for himself in the film's central role.

Kaluuya plays Chris, a young black man who is going to meet his white girlfriend's parents for the first time. He's nervous. He has a right to be. Because all is not as it seems as soon as they enter the family estate.

Peele conducts a real balancing act of satire, horror, and comedy that he pulls of expertly at every turn. Even when aspects of the film are too much of a reach without major suspension of disbelief. But he creates an oppressive mood quickly and effectively, with a strangeness that persists in every new interaction between Chris and the parents, and the black man and woman who help around the house and garden.

There's serious depth here, though, and the kind of allegory writ large that is the hallmark of horror at its best. Peele gave himself a lot to live up to with Get Out, and he has never quite matched it with subsequent films or projects. Although Kaluuya has soared as one of the most fascinating and compelling young actors today. Great cast on the whole, though.

[pmp]

Now the snooker is over, I'll be back on films again this week - probably more than usual as I am stuck at home with Covid, so not much else to watch. I might finally get around to Babylon!

[Greystoke]

Now the snooker is over, I'll be back on films again this week - probably more than usual as I am stuck at home with Covid, so not much else to watch. I might finally get around to Babylon!

I hope it's mild for you and it's gone quickly enough.

[Greystoke]

Two new announcements for later in the year that I'm very excited about.

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[Walter Hale 4]

Of late i been searching, and finding, the american made-for-television films that were happening throughout the 1970s and 1980s. Especially loved this one. Anyone here seen this

..

my first ever post and contribution to this 14 year old thread.

I been searching for almost an hour as i wondered what was the first film i reviewed and posted about. It was on 148 th page.

What do i have to do next time i want to get to 148 page directly ? I have not figured it out.

Anybody seen and either liked or disliked A Howling in the Woods (1971) ?

[Greystoke]

Of late i been searching, and finding, the american made-for-television films that were happening throughout the 1970s and 1980s. Especially loved this one. Anyone here seen this

..

my first ever post and contribution to this 14 year old thread.

I been searching for almost an hour as i wondered what was the first film i reviewed and posted about. It was on 148 th page.

What do i have to do next time i want to get to 148 page directly ? I have not figured it out.

Anybody seen and either liked or disliked A Howling in the Woods (1971) ?

I watched it for the first time in ages around a year ago. I think it's fairly good. The cast is effective and the premise works within the confines of what was being made for television at that time.

If you click the icon I've highlighted below, you'll be able to select a page number.

Screenshot_20230503-141644~3.png

[Walter Hale 4]

Wow can't believe thread is still here after all these years. watched the classic Little Caesar tonight not seen it in years.

we are near 300 pages. I reckon we should invite rocknroller on that milestone occasion to post

[Walter Hale 4]

Of late i been searching, and finding, the american made-for-television films that were happening throughout the 1970s and 1980s. Especially loved this one. Anyone here seen this

..

my first ever post and contribution to this 14 year old thread.

I been searching for almost an hour as i wondered what was the first film i reviewed and posted about. It was on 148 th page.

What do i have to do next time i want to get to 148 page directly ? I have not figured it out.

Anybody seen and either liked or disliked A Howling in the Woods (1971) ?

I watched it for the first time in ages around a year ago. I think it's fairly good. The cast is effective and the premise works within the confines of what was being made for television at that time.

If you click the icon I've highlighted below, you'll be able to select a page number.

Good one greystoke.

It worked. Thanks again for your help my friend

[Greystoke]

Wow can't believe thread is still here after all these years. watched the classic Little Caesar tonight not seen it in years.

we are near 300 pages. I reckon we should invite rocknroller on that milestone occasion to post

And still not a cross word. And still the most civil thread of any length on FECC. I love taking movies with you all!

[Greystoke]

In the meantime, though, I'm patiently waiting for the Dune 2 trailer to drop today. I thought the first film was terrific and I'm glad a second film was realised, considering there was some doubt about this at one stage. I've got high hopes for it.

[pmp]

Wow can't believe thread is still here after all these years. watched the classic Little Caesar tonight not seen it in years.

we are near 300 pages. I reckon we should invite rocknroller on that milestone occasion to post

And still not a cross word. And still the most civil thread of any length on FECC. I love taking movies with you all!

Last night I got around to the Warner Archive blu ray of The Sea Hawk, with Errol Flynn. I have to confess I didn't like it as much as I thought I would (or, rather remembered from the last viewing ten or twenty years ago). It was the last of a group of swashbucklers starring Flynn and directed by Michael Curtiz, but, while enjoyable enough, I think it feels somewhat bloated compared to the likes of Robin Hood and Captain Blood, and there's a sense that it's treading old ground somewhat. It was, no doubt, an attempt to making a bigger and better film than the previous titles, but bigger isn't always better. There is the problem, perhaps, that the opening half hour sequence of The Albatross attacking the Spanish ship is the highlight of the film, and the finale pales in comparison. And the climactic sword fight even contains images/shots we have seen before (such as the shadows of the swordsman on the wall rather than the figures themselves). And Brenda Marshall is certainly no Olivia de Havilland when it comes to the love interest. The real star of the film, looking at it from 83 years on (that's scary, isn't it?), is Korngold's magnificent score - especially with Korngold's concert works and operas much highly regarded now in the classical world than when he was alive.

The Sea Hawk is thoroughly enjoyable, but it didn't truly connect with me, and I'm not sure I will return to it in the future, whereas I certainly will see Captain Blood and The Adventures of Robin Hood many more times before I shuffle off this mortal coil (in forty years time). The transfer on the blu ray is fine for the most part, but it's clear some sequences have been taken from an inferior print and, as always, the switches in picture quality can be jarring.

Tonight I turned to Empire Records, a film I'd completely forgotten all about until a clip popped up on YouTube a few weeks back. This is great fun, and stands as a wonderful time capsule of the mid-1990s. It's light and airy, but there's something really rather charming about the narrative centring on 24 hours in the lives of a disparate group of youngsters working in a record store - perhaps even nostalgic, too, now, considering we live in a time when many such stores have vanished from a town and city centres. The young ensemble cast is terrific, and the script is sassy. It was never going to win awards, but it's one heck of an enjoyable way to spend ninety minutes.

[Greystoke]

Wow can't believe thread is still here after all these years. watched the classic Little Caesar tonight not seen it in years.

we are near 300 pages. I reckon we should invite rocknroller on that milestone occasion to post

And still not a cross word. And still the most civil thread of any length on FECC. I love taking movies with you all!

Last night I got around to the Warner Archive blu ray of The Sea Hawk, with Errol Flynn. I have to confess I didn't like it as much as I thought I would (or, rather remembered from the last viewing ten or twenty years ago). It was the last of a group of swashbucklers starring Flynn and directed by Michael Curtiz, but, while enjoyable enough, I think it feels somewhat bloated compared to the likes of Robin Hood and Captain Blood, and there's a sense that it's treading old ground somewhat. It was, no doubt, an attempt to making a bigger and better film than the previous titles, but bigger isn't always better. There is the problem, perhaps, that the opening half hour sequence of The Albatross attacking the Spanish ship is the highlight of the film, and the finale pales in comparison. And the climactic sword fight even contains images/shots we have seen before (such as the shadows of the swordsman on the wall rather than the figures themselves). And Brenda Marshall is certainly no Olivia de Havilland when it comes to the love interest. The real star of the film, looking at it from 83 years on (that's scary, isn't it?), is Korngold's magnificent score - especially with Korngold's concert works and operas much highly regarded now in the classical world than when he was alive.

The Sea Hawk is thoroughly enjoyable, but it didn't truly connect with me, and I'm not sure I will return to it in the future, whereas I certainly will see Captain Blood and The Adventures of Robin Hood many more times before I shuffle off this mortal coil (in forty years time). The transfer on the blu ray is fine for the most part, but it's clear some sequences have been taken from an inferior print and, as always, the switches in picture quality can be jarring.

Tonight I turned to Empire Records, a film I'd completely forgotten all about until a clip popped up on YouTube a few weeks back. This is great fun, and stands as a wonderful time capsule of the mid-1990s. It's light and airy, but there's something really rather charming about the narrative centring on 24 hours in the lives of a disparate group of youngsters working in a record store - perhaps even nostalgic, too, now, considering we live in a time when many such stores have vanished from a town and city centres. The young ensemble cast is terrific, and the script is sassy. It was never going to win awards, but it's one heck of an enjoyable way to spend ninety minutes.

It is unfortunate that better elements haven't survived with regards to The Sea Hawk. It still looks great for the most part, and I can only commend Warner Archive for what they've managed to do once again with less than pristine material.

[pmp]

Tonight I saw Romance on the High Seas, Doris Day's film debut, directed by Michael Curtiz. I really don't think there was a better director in the Hollywood system of the late 1920s through to the early 1960s. Whatever vehicle the studios threw at him, he seemed to take it all in his stride, producing classic horror (Mystery of the Wax Museum and Doctor X), through to dramas such as Casablanca and Mildred Pierce, historical epics (Charge of the Light Brigade, Noah's Ark), swashbucklers (Captain Blood, The Sea Hawk), westerns (Dodge City, Santa Fe Trail), and musicals (Yankee Doodle Dandy, White Christmas). Does anyone have a more varied resume?

What's more, his work with relative newcomers to the screen and his championing of them (particularly Errol Flynn and Doris Day) was also to be applauded. His work with Elvis on King Creole also showed how much he could bring out of fledgling actors, and I wonder whether he would have worked with Elvis again if the army (and Curtiz's passing) hadn't got in the way. Curtiz certainly brings out the best in Doris Day, too, and it's worth remembering that her first serious role, Young Man With a Horn, was also with Curtiz. Sadly,the director's versatility also means he's not spoken of in the same breath as Hitchcock, Ford, and deMille.

But, back to the film. Romance on the High Seas is a frothy, slightly silly, confection, which is directed with a lightness of touch perfect for the material. And Day is great here, even if there are moments when it's clear she is still learning the acting craft (as would be expected). With the exception of the pretty awful "I'm in Love," the songs are superb, too, with the film introducing the standards It's You or No One and It's Magic to the world. It's also nice to see Day in a jazz setting for some numbers, performing with the Page Cavanaugh Trio. The Warner Archive blu ray looks great wonderful, with the vibrant colour photography looking crisp and clean.

[Greystoke]

Tonight I saw Romance on the High Seas, Doris Day's film debut, directed by Michael Curtiz. I really don't think there was a better director in the Hollywood system of the late 1920s through to the early 1960s. Whatever vehicle the studios threw at him, he seemed to take it all in his stride, producing classic horror (Mystery of the Wax Museum and Doctor X), through to dramas such as Casablanca and Mildred Pierce, historical epics (Charge of the Light Brigade, Noah's Ark), swashbucklers (Captain Blood, The Sea Hawk), westerns (Dodge City, Santa Fe Trail), and musicals (Yankee Doodle Dandy, White Christmas). Does anyone have a more varied resume?

What's more, his work with relative newcomers to the screen and his championing of them (particularly Errol Flynn and Doris Day) was also to be applauded. His work with Elvis on King Creole also showed how much he could bring out of fledgling actors, and I wonder whether he would have worked with Elvis again if the army (and Curtiz's passing) hadn't got in the way. Curtiz certainly brings out the best in Doris Day, too, and it's worth remembering that her first serious role, Young Man With a Horn, was also with Curtiz. Sadly,the director's versatility also means he's not spoken of in the same breath as Hitchcock, Ford, and deMille.

But, back to the film. Romance on the High Seas is a frothy, slightly silly, confection, which is directed with a lightness of touch perfect for the material. And Day is great here, even if there are moments when it's clear she is still learning the acting craft (as would be expected). With the exception of the pretty awful "I'm in Love," the songs are superb, too, with the film introducing the standards It's You or No One and It's Magic to the world. It's also nice to see Day in a jazz setting for some numbers, performing with the Page Cavanaugh Trio. The Warner Archive blu ray looks great wonderful, with the vibrant colour photography looking crisp and clean.

Curtiz was at one point attached to direct G.I. Blues, although he dropped out whilst this project was in development. There are also reports in the Hollywood Reporter that Curtiz was in discussions to direct Flaming Star, although we know this didn't happen either. So it seems that he was open to working with Elvis again.

Curtiz was a marvellous director as you've said, though. He was diverse and highly skilled, but almost operated like a journeyman director, although with high profile projects. And I think that Romance on the High Seas was in many respects the right vehicle for Doris Day to start her acting career, with Curtiz as the right director.

I don't have the Warner Archive Blu-ray yet, but it's on my ever-growing list of Blu-rays to buy.

[Walter Hale 4]

[Greystoke]

I watched In the Line of Fire tonight, Wolfgang Petersen's 1993 thriller, which stars Clint Eastwood as a secret service agent who once protected JFK, and is now embroiled in another presidential assassination plot.

Clint doesn't deviate much from a familiar persona, complete with personal touches, such as a love of jazz and a fondness for the piano, which his character is seen playing several times in the film. However, the overarching premise and type of character Eastwood plays isn't far removed from Dirty Harry with a different badge.

There's a lot of standard police thriller material here. From the partner who inevitably gets shot or killed, to a conniving villain with a master plan, and the chase to hunt him down in spite of pushback from the brass.

In some respects, a film like this is only as good as its villain, and whilst it's a broad performance, John Malkovich is good here as the would-be assasin whose clever tactics and the need to connect with Eastwood's character make for an interesting dynamic.

There's some nicely staged crowd scenes and Rene Russo is good in an underwritten role, although their cat and mouse relationship should maybe have stopped at flirting. And whilst there's clearly inspiration from the likes of Vertigo and even a nod to The Wolf Man, the film does get quite ludicrous in its final act. Although pacing is never an issue. I quite enjoyed revisiting this one and I might watch one or two more Eastwood films over the weekend.

[Greystoke]

I watched Benedetta again last night, Paul Verhoeven's outlandish film about a 17th century Italian lesbian nun, who has visions of Christ and experiences spiritual penetration in the form of a statuette carved into a dildo. It was Verhoeven's best film in years.

Verhoeven, however, is as much concerned with power dynamics, individuality, the meaning of truth, and sexual freedom, than he is eroticism. Well, just about! And Benedetta is undoubtedly a flawed film in many respects, as it tries to reckon with religion and a tone that at times becomes unintentionally funny.

Thankfully, it never veers into comedy or farce, but does have inspired moments and a fine cast, including Virginie Efira in the film's central role as Benedetta, the nun who runs to Jesus in a vision and sees him fend off evil all around her. And Daphne Patika, the abused girl who seeks sanctuary in the abbey but can't contain her lust for Benedetta.

It never quite reaches the same heights as Ken Russell's The Devils, which is still desperately wanting a Blu-ray release, incidentally. Although it's actually closer to Verhoeven's most popular film, Basic Instinct, in some ways.

Charlotte Rampling is also very good as the Mother Superior, and whilst there's some attempt to broaden the scope of a film that's small scale by nature, this feminist allegory is at its best not in the bedroom, but in the mind of its characters. Whose hallucinatory visions may or may not be the product of divine intervention, pure fantasy, or emotional distress. But it's never wanting for ideas.

[Greystoke]

Nice 2023 teaser from Studio Canal. Here's hoping for a new 4K release of Peeping Tom.

..

[Greystoke]

I watched Splash, Creation Stories, and Attack the Block this afternoon and evening. Of the three, Creation Stories is the one I hadn't seen before, although I'm very fond of Splash and Attack the Block. Splash, which is just a delight, is one of my favourite romantic fantasies of all-time. Whilst - in my opinion - Attack the Block, Joe Cornish's alien invasion film that takes place on a South London estate, is one of the best films of its kind since The Thing, or certainly Predator.

Creation Stories, however, was quite underwhelming. Written by Dean Cavanagh and Irvine Welsh, and directed by Nick Moran, this is the story of Alan McGee and Creation Records, with Ewan Bremner playing the Glasgow-born founder of the independent record label that was responsible for The Jesus and Mary Chain, My Bloody Valentine and Oasis.

Told via an interview with Bremner's McGee, who recounts his life story to L.A. music journalist, Gemma, played by Suki Waterhouse, the story flahses back to McGee's childhood in Glasgow and a love of Bowie and punk. He's a young man looking for an outlet and to make money, but his domineering father wants him to be an electrician and despairs at how he dresses and what he listens to.

In one amusing scene, his father, played by Richard Jobson, chastises McGee for looking stupid because he dresses like David Bowie, before he is revealed in full free mason regalia. Although Jobson's character is mostly one note in a film that's too sprawling and thinly-sketched.

It's fast-paced to be sure, as McGee is soon in London where he's seeking his fortune as a rock star, before finding a way into producing and managing bands. Along the way, there's flights of fantasy and social touch points in Thatcher's Britain, whilst pal Bobby Gillespie breaks out with his own band, Primal Scream.

Its clear that Moran wants to find some of that punk sensibility and frenetic energy of Danny Boyle's films, especially Train Spotting, but it's never in that league, which isn't helped by a lack of budget and an unwieldy script. Which soons comes into the nineties with the discovery of Oasis at King Tut's in Glasgow.

Jason Isaacs also appears with a bizarre performance that seems plucked out of another film, whilst a final act that moves into the Brit Pop and New Labour era of the 1990s is woefully underwritten. Including a misjudged attempt to bring Jimmy Saville into the story and a Tony Blair who resembles Frederich March's Mr. Hyde!

It doesn't miss some tender moments and there's an attempt to be authentic with the dialogue and locations, and despite some variable archive footage, there's enough music clearance to get a feel for the sounds of the respective eras, if little else. There are interesting parts and moments that do work in this film, but it mostly misses the mark.