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Storyline
In the perfectly normal town of Louisville, KY, there is a perfectly normal man living the perfect life. David Dailey is a man who has it all: A great career, a community that adores him, and an enduring marriage. But beneath the surface, David's idyllic world is crumbling. He's haunted by a series of mysterious notes that warn of an imminent fall from grace. His sultry wife Susan is hell-bent on expanding the horizons of their sex life - with or without him. His longtime assistant Whit is gunning for his job. And he finds himself increasingly attracted to Melody Carpenter, a curious stranger he instinctively trusts because she doesn't know him well enough to betray him. Complicating matters, Melody's jilted boyfriend Sean, a charming and talented trust fund baby, regards David and Melody's fledgling friendship with contempt. As his jealousy seethes deeper, he concocts a devious plan to win her back, unaware his overly protective father has ordered his number one ally to keep an eye ... Written by
Lunacy Unlimited Productions
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Taglines:
Everyone you trust has the power to betray you.
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Details
Release Date:
12 August 2005 (USA)
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Box Office
Budget:
$2,500,000
(estimated)
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Company Credits
Technical Specs
Aspect Ratio:
1.85 : 1
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Did You Know?
Trivia
The red letters showing here and there, throughout the credits, spell T-H-A-N-K Y-O-U F-O-R W-A-T-C-H-I-N-G.
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Quotes
Brooks Voight:
Be careful of people who kiss your ass. They're always after something.
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Crazy Credits
Red letters in credits spell "Thank you for watching"
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Connections
References
Nice Guys Sleep Alone (1999)
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This film is completely predictable without rendering any entertainment value whatsoever. Its simply terrible. It amazes me that work like this actually gets made; moreover, it has the guts to solicit money, as if making the film were equal, in some far away galaxy, to having suffered through watching it. The twists and turns travel deep into plot point after point until the mystery unravels itself into portraiture--nothing meaningful happens. What does occur are heavy-handed maneuvers in story conventions at the expense of the audience. Surely there is no conscious disdain for the viewer, but to scorn film goers through reckless naivety isn't just no matter how mot just the intentions might have been. Furthermore, it is hard to believe that any skill lies in either the craft to create story or to successfully, manipulate deceitfully. Neither are done subtly thus neither are received auspiciously. Hopefully the cast and crew were given the proper time to jump ship before this boat sank back into the mind from which it came. Perhaps Writer/Director Pollard should stick to voice-overs?