A newspaper photographer, Jean, researches the lurid and sensational axe murder of two women in 1873 as an editorial tie-in with a brutal modern double murder. She discovers a cache of ... See full summary »
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
After a car wreck on the winding Mulholland Drive renders a woman amnesic, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
A grief-stricken mother takes on the LAPD to her own detriment when it stubbornly tries to pass off an obvious impostor as her missing child, while also refusing to give up hope that she will find him one day.
A newspaper photographer, Jean, researches the lurid and sensational axe murder of two women in 1873 as an editorial tie-in with a brutal modern double murder. She discovers a cache of papers that appear to give an account of the murders by an eyewitness. The plot weaves between the narrative of the eyewitness and Jean's private struggle with jealousies and suspicions as her marriage teeters. Written by
When a movie gets itself over certain hurdles, establishing believability, mainly, and creating audience sympathy with/for one or more characters-- I am willing to silence my nagging inner critic, who is perhaps a thwarted pleasure principle raising its head to be fed.
Sarah Polley makes this film. Her acting was excellent, but I found myself, at first, most delighted by her "Norweigan" accent. As the movie went on, I got addicted to that accent, which for me had become integral to her performance. She, not Hurley, not Penn, was the centerpiece of this movie. But everyone was good, and the two story lines came together at the end satisfyingly.
Until I looked Sarah Polley up on IMDb I didn't realize how "busy" she's been (and will be). Also a writer and director ...
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