In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve a rich and spoiled millionaire playboy, named Dickie Greenleaf. But when the errand fails, Ripley takes extreme measures.
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
A modest man is suddenly seized from his apartment and interrogated by the police for what initially is presented as involving a stolen car, but its slowly revealed to involve a serial killing. Meanwhile Internal Affairs is investigating the manner in which the investigating officers work. Written by
John Sacksteder <firstname.lastname@example.org>
At the beginning of the New Yorker Video DVD, right before the main menu appears, a quote of Eddie Fleming fills the screen: "Just goes to show you how the mind works." At the very end, after the credits roll, a quote of Det. Steele fills the screen: "I don't know Mr. Fleming, how does the mind work?" But if you run the end credits a second time a different quote appears at the end, this time from Det. Prior: "It's about a fucking stolen fucking car you fucking fuckwit." See more »
Not since 12 Angry Men have I been so riveted to a film ...
37 years after Hitchcock put Psycho on the silver screen, Craig Monahan directed a thriller that competes frame for frame. The Interview explores the duality of the troubled mind through a simple exchange of thoughts. The possible psychosis of a suspected serial killer is examined through the microscope of Australian law enforcement, which bears universal similarities to America's.
The movie relies on two primary ingredients: dialog and acting. Weaving and Martin (principally, with a superb sparse supporting cast) make it work. Enhancing camera angles, lighting, and complementary music put you there - in the interview room. Not since 12 Angry Men have I been so riveted to a film that relies on dialog so heavily. It's a 5 star restaurant meal for the the independent film viewer. So little arrives on the plate; but what comes to you is 100% choice.
If you happen to rent the DVD, invest time watching the alternative ending. It offers a lesson in film making. In the final presentation, Monahan achieves with a facial expression what otherwise might have taken another four minutes to achieve. Self Indulgent, ego-borne film producers take note. It you were satisfied with Hitchcock's ending to The Birds, you'll be content with his ending as I was. But if you watch and leave with doubts about the culpability of the interviewee, those doubts will be dismissed in the alternative ending.
Find a copy and see it soon. 9.5 / 10
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