The spoiled rotten and utterly unlikable rich kid George Amberson becomes horrified when his recently widowed mother rekindles her relationship with the wealthy Eugene Morgan, who she left ... See full summary »
Jonathan Rhys Meyers
Father Michael McKinnon goes from the UK to Boston circa 1935. For unknown reasons, he avoids at all costs the most prominent parishioners, Arthur and Eleanor Barret. Meanwhile Eleanor and ... See full summary »
Lesli Linka Glatter
At an undisclosed location and time an Empress has seven years to provide her Emperor with an heir to his throne. If she does not succeed during this time, the Emperor is free to marry a ... See full summary »
Jonathan Rhys Meyers,
The Beat Nicks are musician Nick Nero and poet Nick Beat, a pair of self-styled truth-seekers who'd better find a gig or they'll be out on the street. Their luck begins to change when they ... See full summary »
Mark Boone Junior,
Emma is a blind cellist who finally gets the opportunity to get to see. Meanwhile, a string of bizarre rapes and murders has taken place. All of the victims have had transplants within the last month. A coincidence, or is Emma next?
Nobody Needs to Know is a story of Fame and the towns and industries and the people who create it and support it. It's the story of two actresses on divergent paths who unwittingly ... See full summary »
New York is the dream city of Tavo and Marina, where the lovers hope to start a better life; at home in Bogota they have to work as pocket pickers at the airport to support their families. ... See full summary »
A woman (Madeleine Stowe) who has just discovered she is the daughter of a murdered Mafia chieftain (Anthony Quinn) seeks revenge, with the aide of her Father's faithful bodyguard (Sylvester Stallone).
Divorced business-bitch Senga Wilson grudgingly drives daughter Nathalie 'Nat' home after a visit to her dad, far away. During a rest-stop, Nat sneaks out with a friend and joins a weird truck-nomadic hippie-like sort of cult, which Senga tails. Its 'father' uses drugs and sex to bind everyone to his bloodthirsty scheme. When Bradford PD detective Ned Stephens investigates, Nat's dad assures him she's safe with him and Senga is pathologically disturbed. Nightmares blur who is imagining or lying what. Written by
The involvement of Johnathan Rhys-Meyers and Madeline Stowe made me interested in seeing Pulse/Octane. For the first part of the movie I was rewarded with cool photography, a nightmarish tone and the increasingly complex portrayal of a messed up mother-daughter dynamic. I began to get excited about what was to come as I was reminded of great classics like The Hunger, Aliens or Near Dark. Unfortunately, this potential never came to fruition.
What begins as an examination of a mother's will to protect her petulant daughter from herself soon decays into just another "B" horror movie full of clichés and buffoonish action. Shifting the perspective from Stow's character to the daughter's (Micha Barton) removes all weight and tension from the story since Barton's character is as fluffy and foolish as any MTV V-Jay. Why should we root for the mother when the heroin-chic daughter would so obviously be more happy partying with Bijou Phillips' vacuous hitchhiker?
Jonathan Rhys Meyers uses his trademark sensuality to good effect here, but his character, "The Father," is given such short-shrift that he never becomes more than a caricature. Still, if he is some kind of symbol for wanton lasciviousness, it looks so good on him one roots for Barton to accept his advances and ditch her mother's increasingly silly attempts to save her.
Movies like this are really irritating because of what they could have been with a bit more vision on the part of the writer and director. I'm sure Stowe and Rhys-Meyers saw the potential in the script and were then disappointed. For me, Pulse/Octane is one that got away...
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