When high school dropout Maria Coughlin announces her pregnancy to her parents, her father drops dead on the floor. Her mother kicks her out of the house and her boyfriend dumps her, so ... See full summary »
New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family's three ... See full summary »
Nearly silent comedy filmed in black and white follows a street artist (Charles Lane), who rescues a baby after her father was murdered. The artist then sets off to find the mother, but has... See full summary »
Dot (Belle), a young deaf and mute woman, is sent to live with her godparents (Falco and Donovan) and their daughter (Cuthbert). The new addition to the household realizes that everything is not copacetic in the home, and the family's dark come to light.
The enduring friendship between the Walling and Ostroff families is tested when Nina, the prodigal Ostroff daughter, returns home for the holidays after a five-year absence and enters into an affair with David, head of the Walling family.
Written and directed by Edward S. Barkin from his play, this debut feature is excessively moderated due to the author's limited psychological perception that serves to hamstring his cast and prevents development of their roles during a film concerning two young men and the target of their desires, the rift of the title referring to contention between Tom (William Sage) and Bill (Timothy Cavanaugh) over the latter's spouse Lisa (Jennifer Bransford) for whom the two longtime best of friends share passion. Characteristics of a tyro director abound including twitching hand-held camera-work and iterative dream sequences, while a voice-over narration by Tom attempts to clarify actions of the characters whose behaviour is quite consistently unpleasant including downbeat dialogue between the married pair clouding their relationship, and a self-destructive bent by Tom, an LSD imbibing songwriter of ghastly lyrics, with all impacted by a psychiatrist (Alan Davidson) whose menacing mien is somewhat Satanic and who is treating Tom upon urging from Lisa, also a patient, who is concerned because of Tom's habitual nightmares and who hopes that therapy will be beneficial. An exceptionally cheerless aura punctuates the piece, too infrequently diluted by humour, and Tom's disposition to emotionally withdraw from his friends seems mannered, due in the main to a large amount of footage of him swimming in discomfited thought, but it is after all an initial effort in a tough business, and deserves respect for the travails of all involved, acting laurels going to Cavanaugh for deepening his character, notwithstanding the director's uninventive application of Lee Daniel's camera skills.
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