When "American Psycho" was released early in 2000 it reaffirmed author Bret Easton Ellis as the controversial "bad boy" of contemporary American Fiction. "This is Not an Exit" reveals the world inhabited by Ellis. In HD.
Charles is bored with being a wealthy, successful architect. He takes a temporary job photographing undressed women and falls for Pamela. His wife, Elaine, has little sympathy for this ... See full summary »
A gay man approaching a mid-life crisis is tired of being different because he is gay. He wants to be normal. Suddenly he is yanked back in time to when he was in high school. But this time... See full summary »
J. Andrew Keitch,
A group of young adults spending a weekend together on a secluded island in Maine find themselves haunted by the choices they didn't make as they confront the meaning of love, friendship, ... See full summary »
After breaking-up with his girlfriend Veronica, the unemployed John Hare rents a cheap room in an old boarding house owned by the nice Martin Stone and the landlord tells him that the house... See full summary »
Three vampires wander the streets of Melbourne killing, screwing and taking drugs. They decide to carry out a heist, stealing three million and attracting the attention of various ... See full summary »
Big Bad Ralph,
In this low-budget descendant of Psycho, Ursula and Leon are sister and brother, living alone, save for a large wooden puppet they call "Pin" (for Pinocchio). When Ursula starts hanging ... See full summary »
In 1943, group of Croatian soldiers overtake a strategically important point in western Bosnia with a goal to destroy a group of communist partisans. On the way they met some supernatural ... See full summary »
Greta Scacchi, plays a lonely spinster Julia Parchant living on her own on a secluded farm in the mid-west of the USA. Unable to keep the farm by herself she hires a drifter Caleb Tucker, ... See full summary »
When novelist Eddy and his working wife Lilly invite two couples to dinner to greet the return of a long-absent friend, questions of fidelity and loyalty between thirty-something friends quickly arise and entangle the dinner of pasta and wine. Ambitious Dan and Charlotte are close to a falling out, and Alan and Alex are living on the edge of disaster, when Kate, the local cocaine runner, suddenly appears, seeking shelter from the police. Amid mixed feelings of guilt, remorse, unrequited love, anger, and anxiety, Eddy proposes that they play "The Truth Game" to cap the explosive evening. Written by
The Truth Game, the middle film in Simon Rumley's trilogy about young Londoners at the turn of the Millennium, was in fact the final one to be written and, in places, it seems as though this could be a problem. Rather like Tarantino's Jackie Brown, Rumley's third film as writer is an odd mixture of greater maturity but less care. It has neither the originality of Strong Language (= Pulp Fiction) nor the pace of Club Le Monde (Reservoir Dogs) but nonetheless remains an exceptional piece of writing and an interesting, occasionally hilarious film.
The premise is laughably simple - six friends meet up for dinner and, despite being best mates, all lie to each other - but it is the execution that is fascinating: the camera is, in best docu-soap tradition, an unflinching fly-on-the-wall that ensures that the audience as aware of every lie and every unfaithfulness each of the characters commits.
It is fair to say that the characters are pretty unlikable but, like an episode of Eastenders, that is part of the grim fascination. Everyone has cheated on everyone else and they all suspect it - the tension is palpable from the opening scene onwards. Indeed, it is safe to say that "fascinating", rather than "fun" or "enjoyable", is the best way of describing the experience of watching this film.
Rumley's expert scripting (which, like Strong Language, seems quasi-autobiographical) is not quite matched by his directing which, whilst mostly good, falters in a couple of places. However, being an enclosed, ensemble-piece, the film is made or broken on the quality of the performances. In all but one case, these are excellent: intense yet natural.
It's not Rumley's best but as a companion to his other films, The Truth Game is indispensable.
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