A famous psychiatrist (Ty Adams) takes on the job of trying to cure patients at the Sedah State Hospital, run by its folksy doctor (Sam Delazo). All this takes a strange turn when a ...
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Marcus H. Rosenmüller
A famous psychiatrist (Ty Adams) takes on the job of trying to cure patients at the Sedah State Hospital, run by its folksy doctor (Sam Delazo). All this takes a strange turn when a mysterious patient (Satan, he calls himself) enters the Hospital seeking help. Or is it just help that he wants? Written by
The first thing that struck me about this film was how trite and over-simplified much of the subject matter was. At first it bothered me; the characters were pretty two-dimensional and the patients in the mental ward seemed very unrealistic. The whole movie took on a superficial and untrue feel that left me uninvolved and failed to suspend my disbelief. However, as the film goes on, you realize this may be on purpose. The film takes on a Lynch-ian feel that culminates in an ending that clearly explains why everything was so simple, shallow, and "perfect". I appreciate Eriq for not shoving the ending down our throat. He is obviously talented and deserves recognition for following through with a film that failed to get support from Hollywood because it isn't a cookie-cutter re-make of the films that Black film-makers continue to crank out. On the other hand, the story wasn't particularly unique either. It very much reminded me of a low-budget "Jacob's Ladder" with a simpler story-line and much more limited production resources. Eriq LaSalle is a great human being with enormous talent and, more importantly, a great perspective on what is important in life. He isn't quite willing to play into the Hollywood system, and although you couldn't tell from this film, he seems to understand the powerful role his artform can play in lifting up (or keeping down) his people. I respect him immensely and I expect great things from him in the future.
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