Father and Mother (Movie Thoughts: Eastern Boys/Mommy)

Robin Campillo's "Eastern Boys" is an odd film.  It starts out so interestingly - the camera follows a group of male hustlers at Gare du Nord Train station in Paris and we see them running, frolicking, hustling. We see them operate wordlessly as if spying. Then a businessman, Daniel, played by Olivier Rabourdin, zeroes in on one, named Maerek,  follows him, and they under the stairs.  he gives him his address, planning to meet the next day.  Someone else arrives the next day, and forces himself into the apartment. Then other young men do, and take over the house - and strips it of its contents. Daniel doesn't resist, probably because of shame of being found out as gay. Marek then comes back later, and he lets him in, and they develop a sort-of relationship, getting to a point that Daniel gives him a monthly stipend. The last third of the film centers around Daniel helping Marek separate from the gang (the tone of the last third - that of a suspense/action movie - is jarringly different) Emotion wise, we go through a roller coaster, and the ending seems a bit off - you wonder how they arrive to where they eventually end, wherein Daniel becomes a literal father figure to Marek - but darn it if these characters don't get to you. I found myself caring for these characters and I still think about them.

I had the opposite reaction to the characters in "Mommy."  Set in Montreal, it tells a story of a sassy mother who is taking care of her ADHD-addled son. There is non-stop fighting, screaming by mother and son here. Anne Dorval is the kind of actress who hammers her point by shrieking at the top of her lungs, and after a while you are so exasperated that you stop caring. Yes, I know what director Xavier Dolan is trying to do: he is trying to show you what she is going through, and having you "experience" it.  But one hundred twenty nine minutes of it? I can only take so much.

Saints And Sinners (Movie Thoughts: Saint Vincent, The Last Time You Had Fun)

I  had a chance to catch up on some movies that I have meant to watch and write about. First up is "Saint Vincent," which was a crowd-pleasing hit last year. Directed by Theodore Melfi, we've seen this movie before, about the curmudgeon with a heart of gold. It's just a slight variation on the hooker with a heart of gold, but wait, Naomi Watts plays that character in this movie as well. So we see a whole bunch of people here with hearts of gold. In hard circumstances. Melfi squeezes the tears out of the viewer with a carefully manipulated story, and at first the cynic in me was trying to resist it, until i realize that I was tearing myself up. The performances here are what's golden: on a lesser year, Bill Murray would probably have had Academy Award mentions, and I was duly impressed with Naomi Watts as a Russian hooker who takes care of Murray's character. And even though I really loathe Melissa McCarthy as an actress, it was nice to see her more subdued here - no need for her larger than life characterizations. This movie as a rental more than delivers. I bet it can even make you cry.

And I was crying, too, while watching "The Last Time You Had Fun," but more from boredom and regret. I can't even discern why this movie exists. It focuses on four unhappy married people (not too each other)  They are all white, they are all privileged, but boo hoo for one reason or another they look for reasons why their life sucks. I can't bother with this people. Somehow I couldn't find the strength to empathize with these insufferable and shallow folks.

Isn't It Bromantic? (Movie Thoughts: The Wedding Ringer)

Before I saw this movie, I had no idea what Kevin Hart did. Well, I knew he was a comedian and he is the next big thing, but other than that...nada. And "the Wedding Ringer" I knew was some kind of comedy movie, and based on the previews I saw, one of those that catered to young me, so, yeah not my demographic at all. But it was a Saturday night, and I chose this, because I guess I wanted to see something that I thought would not really make me think, that would be fun. I wasn't wrong. "The Wedding Singer" is exactly what the doctor ordered. And for the record, I liked it much more than I thought I ever would - because and despite the fact that Josh Gad is an actor I can't stand. Here he plays the "straight man," mostly setting the jokes for Hart. I thought of this more as a buddy car movie without the car. or perhaps a Bromantic-comedy - a genre where two guys don't realize they are best friends, even as we, the audience, can see it from the beginning. I must say that Hart (and Gad) did make me laugh, even as the situations got a little too raunchy and too testosterone-filled for my taste. But I am not the target audience for this, and the fact that even I appreciate this movie has to be some credit for it.

Some People Can Get A Thrill (Movie Thoughts: Such Good People)

"Such Good People" is kind of a rare thing: a gay screwball comedy. Actually, it can even be just a screwball comedy, because the "gay" aspect of the main characters is inconsequential. Randy Harrison and Michael Urie play a couple who finds a million dollars inside a house they are sitting. What would you do if you were int heir position? It is not an easy decision, of course, and everything gets compounded by the actions of another couple, played Carrie Whilta and James Urbaniek. The best thing about this movie is the easy performances of Harrison and Urie, and actually by everyone else, including cameos by Lance Bass and Alec Mapa. The movie tries hard, it tries way too hard to be funny, and I couldn't say that it was, for me, too successful. Too many plot points and not enough laughs. But I give it an A for effort - smooth technical elements present a very professional job. And for some people, this movie can be satisfying. 

Circling The Gays (Film Thoughts: The Circle)

I had no idea what "Der Kreis" (The Circle) was all about when  I put this film on my Netflix queue, except for the fact that it is gay-themed. Well, little did I know that not only would I watch quite a powerful movie, but I would also get a gay history lesson. "The Circle" is a magazine - gay- that was established in the 1930s in Switzerland, and it was the only outlet that homosexuals had during that time. It was also a way for gay men and women to socialize - people who subscribe get invited to the balls, wher ethey would drink, dance, and get to know each other. But this was in the 60s, and gay rights were still a thing of imagination in Switzerland. I mean, who knew? I thought Europe was already more liberal with these things. After a gay closeted composer was killed, police in Zurich had a reason to arrest homosexuals, tying them to rentboys. This movie shows the struggle gay men had to face then. It also tells the love story of Ernst and Robi, who met when they were members of The Circle. The film moves from documentary-style interviews between the two men, and then dramatic re-enactments of what transpired. At first, I was confused, but was quickly swept by their epic story, culminating as the first same-sex married couple when it became legal in 2003. This is truly a powerful piece, and was Switzerland's entry for Best Foreign Film for the Academy Awards last year. I really do think all the gaylings nowadays should see this so they would be reminded of what the previous generations have to go through so they could enjoy the freedom they have today. 

Angled Straight (Movie Thoughts: The Last Straight Man)

"The Last Straight Man"  isn't supposed to be a gay love story, but it turns out it is one. Two close friends on the eve of a wedding - one is bisexual and one is straight, and before the night is over they each other. What happens next is one part "One Day," (they meet at the same time yearly) and part "Before Sunrise" (something always happens when they almost get together) What really seems like a bad idea even as I am typing the plot, turns out to be quite good. First off, I don't subscribe to that ultimate "gay fantasy" of bagging a straight guy.  I am in the school that believes a straight guy will never fall in love with another man, and at times this movie preys on that weakness. But we find out that these characters are quite complex, and as we get to know them more and more we get to see the complexities of these people. I was instantly engrossed by the sharp dialogue, and even if you can see the small budget of the film, there are a lot of riches to be mined from it. I gotta admit that the movie made me think. I always say that I get tired of some of these inane "gay" movies, and this one should have fit that bill, but turns out to be an exception. Rent this.  

Only A Day Away (Movie Thoughts: Annie)

I saw "Annie" a while back, when it first came out, and I didn't like it. But there was already an avalanche of bad reviews about it then that I didn't want to add to the chorus of discomforts. So I told myself I would wait a bit until writing about it, and then forgot about it altogether. But now that it is out on video, I saw it again, and wondered to myself if I would feel the same. Sadly, yes. I look at the movie as wasted opportunity. The producers - Will and Jada Smith, Jay-Z among them - had an opportunity to bring this wonderful piece to a new generation and they didn't. It's not that this Annie is bad - it's respectable enough - but they managed to make it bland and boring. The musical numbers all fell flat - with weird arrangements and reconstructions. Why would you have hand choreography in the middle of "maybe?" Why would you reorchestrate "Tomorrow?" Why did you cut "N.Y.C"? These are just random questions I had while watching it. I have a strong affinity for the piece, for sure, because it is the first Broadway production I ever saw, thirty one years ago. But it is also the love for it that makes me want this piece to succeed. When I was watching the movie, I was more sad than angry, and now I feel kind of apathetic but I felt I just had to say my smal piece about it. Why can't they get Annie right these days? The past Broadway revival was devoid of fun, and felt that they did the same here. This is a boisterous, joyous musical, and no one nowadays sees te happiness in it - and that makes me want to take a Xanax. 

50 Shades Of Pigeons (Movie Thoughts: Flying Home/Racing Hearts)

To capitalize on the success of the film 50 Shades of Grey,  "Racing Hearts" has been released on video. I think this was previously released all over Europe with the title of "Flying Home"  and I am guessing the title was changed because the new one would seem more romantic. What's in a title? Funny how a change in it can alter the perception of a film. The movie, starring Jamie Dornan, is really less a romantic comedy and more one about pigeons. Yes, you heard me right - pigeons. The story may seem convoluted, but it is about an acquisition of a pigeon orchestrated by Dornan so he could land a billion dollar account for his firm. And yes, it was fascinating, who would have thought? It gave me an insight into that pigeon race of sending them off from Barcelona and tracking which one flies home the quickest. Dornan is a presence, for sure, and I didn't think he was too bad here - he is very muted, for sure, but you cannot stop looking at him, and that is more than enough. He is definitely a movie star. The side romantic story line seems like an afterthought - they don't have chemistry and I didn't care at all.

I Saved The Best Of Me For You (Movie Thoughts: The Best Of Me)

I would be the type to see a film adaptation of a Nicholas Sparks book on opening weekend.  You know hopeless romantic and all that. But here I am, seeing "The Best Of Me" on a Saturday nigh ton video, five months after its theatrical run. Maybe it's just as well, though. There's a lot of wrongs in this movie, directed by Michael Hoffman. The Sparks book is creaky enough: it's one of those potboilers with plot holes as big as Sparks' book royalties. But people eat it up, and his fans will do the same here, regardless of what doesn't make sense in the story. Half the film is told in flashback, from 1992, but it feels like its he fifties with all the backwards thinking of people in the scenes. It cuts to present time, with James Marsden and Michele Monaghan game to the proceedings. Basically the story boils down to the "what might have been" variety: you see your first and only big love twenty tears later (twenty one, Marsden corrects) and you sense sparks (ha!) are still there. But suspend your disbelief, because the hopeless in all of us will love the message this film offers: that to love someone in your life is enough. In fact, it's more than enough. That's not a bad thought to think about, as there are people who live in this world without having the capacity to love someone else. Can you imagine living your life not having fallen in love with someone? This movie says that life is a wasted one. Marsden is especially good here, with his puppy dog marble blue eyes gorgeous enough to pierce your heart. Roll your eyes for sure, but if you have ever fallen in love - and let's face it, all of us has - I bet this film touches something basic in you.

Falling In Love (Movie Thoughts: Jongen, The Way He Looks)

Over the weekend, I saw two films that perfectly capture falling in love. They are also two films about first love. And, they are also films about gay teens falling in love. But this is 2015, and gay love isn't the love that dare not speak its name anymore. For the youth of today, same sex attraction is so matter of fact that none of these characters even blink at the thought. 

Daniel Ribiero's "The Way He Looks" is set in Portugal, about Leo, a blind adolescent (Ghilerme Lobo) who spends his waking time with his best friend Giovana (Tess Amorim) until a new boy in school arrives, Gabriel (Fabio Audi) When Leo and Gabriel start spending tiem together, an awakening happens in Leo: he finds himself falling in love with Gabriel. But then Leo finds that Karina, a fellow classmate, is aggressively pursuing Gabriel, and is Gabriel interested in reciprocating, Leo wonders. I think the best thing in the storyline is the fact that the story shows love is not blind. Love is when two souls connect. In this case, we canno argue that infatuation is just physical lust. Leo is not sighted after all - it's his emotional connection with Gabriel that trumps whatever he has with Giovana. 

More or less the same emotional conflict is seen in Jongens, a Dutch movie by Mischa Kamp. Sieger gets promoted on his running team, pairing him off with Marc (Ko Zandvliet) and we instantly see an attraction. But even as things heat up between them, and they first kiss, Sieg is still conflicted with his orientation, telling Marc that he is not gay. To prove to himself, Sieg starts dating a young lady, only to see what is inevitable, something hsi best friend realizes and shrugs about. 

Jongens is a nice sweet story (I read that this was originally made for Dutch television) and addresses gay teen love matter-of-factly. As a matter of fact, no coming out happens, here, people just assume, and see, and accept, as if its no big deal to have these teenagers accept their orientations, and move on.

In both films, when the young women accept the fact that these teens are gays, the conflict revolves more about heartbreak, and homophobia is never present. They become more matters of the heart, not politics. I would like to believe that this is how teens look at life nowadays, and I realize how far we have gone since I have been a teenager myself. While, yes, on that level I see that things are easier for them, on some level, heartbreaks are teh same. They still fall in love, they still have their hearts broken. And that is the essence of life.

Horny Harry (Movie Review: Horns)

I don't really venture into supernatural type of horror thrillers but "Horns" stars Daniel Radcliffe, a young actor whose choices I admire, so when this movie became available via Netflix, I streamed it. This movie tells the story of Iggy, a young man accused of killing his childhood sweetheart. But he claims innocence, and one day, he started growing horns - literally. But what he soon discovers is that these horns gives him the power of having whomever he encounters confess their innermost secrets whenever they speak to him. So he uses this power to track his girlfriend's real killer. Along the way, there are weird things that happen, and the biblical references become a little too heavy handed thereby spoiling the whole thing for me. Plus, the mystery part seemed obvious after a while, Visually, this film will catch your attention, from the picturesque cinematography showing the beauty of the Pacific Northwest, to the lurid special effects that grossed me out. And Radcliffe is game, and for the most part makes you believe everything that's happening around him. In the end, I couldn't figure out if I enjoyed the movie or not. This isn't the kind of movie that makes me feel good, and I am conflicted if I had just wasted the last two hours of my life. But, I have to admit that it kept me very interested, and felt there was never a dull moment.

A Deeper Love (Movie Review: Pride)

In September, when I was in London, the movie theater around the corner from my hotel was showing the movie "Pride," and I remember passing by it, looking at the huge poster and wondering if it was a gay movie. Then I read a rave about it somewhere, and realized that it was a movie with gay content, so I made a mental note to try and catch it somewhere. I missed it, but the movie has been in my radar sine and when it finally came out on video, I instantly put it on my Netflix queue. What a great uplifting feel-good movie this is. The story is set during the miner's strike during the Thatcher years in the UK when gay and lesbian groups banded with the miners because they empathized with their plight. Miners and gays would seem like an odd couple, and yes they are, but the film shows that even the most mismatched people can find common ground and band together. Director Matthew Marchus (who directed the stage version of 'Matilda') weaves personal stories with seamlessness that you instantly connect with all the characters on both sides. There's great performances everywhere, but for me Imelda Staunton and Bill Nighy stand out among the vets.  So yes, at times, the proceedings become a tad predictable and you can see the resolutions a mile away, but you won't be able to recognize the big open heart tha lies inside this movie. Rent it, stream it, however you watch it, just do.

Star Crossed (Movie Review, Triple Crossed)

I am not going to pretend and say that I had high hopes for "Triple Crossed." This movie stars and is directed by Sean Paul Lockhart, his first indie movie. And again, I am not going to pretend I disliked it, because, well I did. I didn't love it and will probably not see it again, but I have to say, it was pretty engrossing, and maybe I feel dumb about this, but the twists and turns of this erotic thriller took me, and I was kept guessing about the ending until the end. Is it because this film is really not bad, or am I just more gullible in my old age? Sure, the film could be sped up a little, and some of the directorial touches reveal inexperience, but as entertainment in different levels, this sort of succeeds. And there is delicious eye candy, too, if you are into the sort of thing. The acting is passable (Lockhart is charming as hell, and I would go with him on any role he takes) though Laura Riley has unintentionally laughable scenes. It's not the worst thing in the world for sure. 

Love, Near Or Far (Movie Reviews: "Diana," "Baggage Claim")

I was truly expecting the worst with "Diana."  I know it got scathing reviews when it came out, and it recently won the top award at BARFTRA, which is the British equivalent of the Razzies. But maybe these low expectations helped me just enjoy the movie. If this were just a love story between x and y, and not the People's princess, I bet reaction to it wouldn't be as harsh. It's a story of a love that's complicated, complex, forbidden, but in the end is deep and real. The story, and the film, isn't as expansive and perhaps not worthy of its subject, and that is why it's not as easy to take. I admit to just being a casual admirer of the Princess, so I had no horse to protect in this race. But the person depicted here isn't quite likeable - depressive, manipulative, drama queen. It's as if we are already to assume her sainthood, and these just "round" her up. But Naomi Watts is a fantastic actress, and you can see the work she put in this character. She has mastered the mannerisms, the eyelash bat, the neck swivel that even though she doesn't really resemble Diana, you still believe, and believe, and believe. I don't think this is an absolute waste of time, honestly. 

I found "Baggage Claim" more insulting. The "urban rom com" genre is big business right now, and why not? I was looking for a good time going into this movie but felt cheated. First of all, the plot was ludicrous, but that wasn't even my problem. I won't spoil it, not because I respect it, but because it just felt so stupid writing it  Plus, watching it just became so tiresome, and we just kept on waiting for that big inevitable familiar finish. For me, it didn't help that I thought Paula Patton is such a clunky actress - self aware, self involved, and her comedic timing left a lot to be desired. This would normally be my kind of movie, but I just couldn't wait for it to finish. This the equivalent of a bad Tyler Perry movie - just imagine the horror of that.

The Don's In Love With You (Film Review: Don Jon)

There's this thing I call the Saturday Night Movie, and "Don Jon" fits that bill to a T. It's that kind of movie you just want to see without really thinking much about, and in the end gives you a (predictable) lesson painted with bold strokes. Written and Directed by Joseph Gordon Leavitt, this is the kind of movie that just breezes through, with enough jokes to keep you entertained, with enough skin for it to appeal to both sexes, so voila, Saturday night you're on! The thing is, Levitt is smart. This is a smart mature movie and you would never have guessed this was a debut effort by Levitt. The script is pistol-sharp, and he gets fantastic performances from everyone involved, especially Tony Danza as your typical yesteryear chauvinistic father. And what is this about me really warming up to Scarlett Johanssen? After "Her," she now has power over me to like each of her performances. (I mean, I think I am that one person who wasn't impressed with her Tony award winning Broadway performance!)  Julianne Moore shows us what sensitivity, sensuality and sexuality really means, and Levitt himself gives an impressive performance. Levitt the Direcor is smart enough that he slips that little message in a negligee. We may be a little titillated by all of the movie, but we also get the film's reason for being: that making love is empty when the love is not there. 

Hipster Ha (Movie Review: Frances Ha)

"Frances Ha" is one of the best-reviewed movies of the year, but I missed it at the cinemas and I am catching it up on Netflix Streaming (Netflix is real great in the instant gratification sense - I read that this movie was available on streaming, and almost five minutes later I am watching it)  I want to be honest: I appreciate this movie more than I like it. I get what it is trying to do: an inky black and white movie about a sort of coming-of-age. Greta Gerwig plays the title character, who is a young woman straight out of Vassar. She is a dancer but really isn't good enough to be a professional one. At the start of the movie, she is rooming in Brooklyn with her best friend Sophie and they have this very close relationship. We see their closeness slowly disintegrate, as life does. We see Frances in different addresses (the movie chops up episodes based on her current dwellings) and we see her grow up (kind of) and make mistakes, and at the end of the move she is in a different place (figuratively, too)  This movie is on the self-indulgent side, and the character of Frances isn't very likeable. I think why I didn't enjoy it more is based on who I am more than what the film is. These characters aren't appealing to me: these young, hipster and semi-hipster people grate on my last nerve, and it is more credit to the movie that they are believable enough for me that I dislike them instantly. Additionally, the world these characters are in is very foreign to me, and I just don't want to visit that world. I actually do like the structure of the movie, and I trust that the screenplay is accurate to the way these people talk to each other. Gerwig is a good actress, and as a matter of fact, she makes the character more bearable for me. In the end, though, I did not want to spend a minute more with the characters, and the film. Like a museum piece that I admire but don't connect with, I will move on tot he next piece.

Early End To An Innocence (Film Review: What Maisie Knew)

When I was in Spain, posters of "What Maisie Knew" were all over the Metro stations, and my first thought was that is the film that I have from Netflix at home. The disc has been sitting, unwatched, since mid August. Apparently, the film had limited distribution stateside in May, and released to video shortly after. Well, I finally saw the movie this afternoon and I ask myself, why did I wait this long? Based on the novel by Henry James from the 1890s, the movie (and the book) essays a story of how a pair of bickering adults affects a child. Played with innocence by Onata April (I don't know why, but this child actor reminds me of the young girl who plays Lily in 'Modern Family') we see the world through the eyes of a child, and we see an early end of an innocence: of she is forced to adapt to the world marred day to day by her parents' selfishness and pride. The action is set in modern-day Manhattan,  and the complexities of her daily life is compounded by her being tossed around from one apartment to another every ten days, as per court order. Her father has shacked up with their live-in nanny, and her mother marries and younger man. She is left most of the time with these two people, and she develops deep affinity for them. At this point in the movie, I was weeping, which was opposed to the irritation I felt for the parents during the first quarter of the movie (I had to stop and pause the disc in irritation a couple of times) Across the board great performances here, but the standout for me was Alexander Skarsgard, who showed sex appeal, vulnerability, and fatherly figure. Julianne Moore, who normally can do no wrong, shows less humanity than normal as a mother with no maternal instincts, but I guess she is just drawing from a character that's slightly underwritten. I am just a little disappointed that this movie did not get a wider audience in its theatrical release, but as a rental, you can really do much much worse.

If I Only Had A Brain (Movie Review: Identity Thief/21 And Over)

Over the weekend, I saw two movies, via Netflix that I normally wouldn't have, and I should really just trust m instincts. You know how, in the middle of watching a movie, you ask yourself, "why am I wasting my time on this," well, that's how I felt watching both these movies.  First was "Identity Thief," which was a hit over the Spring. It stars Melissa McCarthy, and cemented her as a box-office draw. I have an irrational dislike of Ms. McCarthy. I am sure she is a fine woman, but there's just something in her humour that just doesn't sit well with me. I cringe whenever people say she is this generation's Roseanne. The only thing they have in common is that they are both female comediennes who are heavier. Roseanne had more intelligence in her comedy, and come to think of it, never used her weight for slapstick, as McCarthy does. I know she had an attention calling role in "Bridesmaids," and she tries to replicate that in her other roles, which she does here. And it doesn't help that she has such an unsympathetic role in here. I kind of feel bad for Jason Bateman, his disdain for this movie shows in his face. Does he really need money that badly to have accepted this role?

In "21 and Over," the one I feel bad for is Skylar Astin, an actor I admired when I first saw him on Broadway in "Spring Awakening."  He also starred in last year's "Pitch Perfect" and was quite good in that movie, even showing his vocal chops there. I understand why he thought it would be a good move to follow up that movie with this, as this was written by the writers of the "Hangover" series. "21 & Over" tries to imitate that, this time lowering the age demographic. I tried hard to keep up with this, and it wasn't as unbearable as "Identity Thief," to be honest. It's kind of stupid, but not in a winking, ironic way as, say the Harold & Kumar series.  I also don't see the appeal of Miles Teller, who people say is the next best thing. Between the two movies, I grudgingly prefer this, but that is not meant as a recommendation. 

Isn't it funny how, on Netflix, you would go see movies you normally would not spend a cent on in the cinemas. More baffling, there are other choices but I still go with these two. 

An Alan A Day (Movie Review: Any Day Now)

At times, good movies with great performances get lost in the shuffle. "Any Day Now" was released during the crowded Holiday season and it didn't get any attention. This is a shame, because if for anything, this movie boasts of a great performance by Alan Cumming, an actor I have grown to admire more and more. I thought of him the other day because he was snubbed by the Tony nomination committee for title role in that Scottish play, and that's when I realized I had just seen this movie on Blu-Ray. I had a lot of problems with the film - the screenplay by Travis Fine and Arthur Fine seems all over the place, and some scenes were cringe-worthy. But that can easily be overlooked because of the fierce committed performance by Mr. Cumming. He plays Rudy Donatello, a gay man who tried to buck the system to try and get adoption rights for Marco, a mentally-challenged child abandoned by his mother. But this is 1979, and homophobia is still rampant everywhere, including the judicial systems. I would like to think we are way past that now in 2013, and indeed, signs are pointing that way - conservative Paul Ryan just stated the other day that even though he is against gay marriage, he is not against adoption by gay parents. But back to the movie, Mr. Donatello is an outspoken, loud gay man who claws and shouts his way, which helped and hurt him in his plight, with this partner, to get custody of the child. It's a marvel to watch Mr. Cumming's raw performance. You will not be able to take your eyes off him whenever he is on screen. Even though the film ends with such a preachy tone that made me want to hurl, your time will not be watsed just to see Mr. Cumming's performance.

In Absentia (Film Review: Absent/Ausente)

"Absent" is a film by Argentinian director Marco Berger, and is a fascinating mind-f**ck of a film. Martin, played by Javier di Pietro, feigns an eye accident so his swim teacher, Carlos Echevierra, would take him to the emergency room. He is of course fine and is sent home, but he lies and ends up spending the evening at his teacher's house. What happens, and follows, tests the audience's ability to discern between reality and fantasy, crossing sexual lines. This movie is marked as a "thriller," but the film only makes it so, with its threatening music and camera angles that set the tone for the movie.  The audience will feel challenged as to whose side to take in the occurrences, if a side is even available. The movie seems a bit too manipulative, but it will certainly keep you awake, and after it has ended, will make you scratch your head and ask, "What was that?" If that is your type of experience, then this movie will satisfy lots.