Double crosses, adultery, murder, mistaken identity, and revenge ensue when a mysterious power player and his sultry wife hire a disgraced Los Angeles property broker to discreetly market and sell their Malibu villa.
A popular high school girl is harassed by a delinquent boy until they are placed in creative writing class together. Through written words, they create a bond, but tragically a bond that ... See full summary »
Scott Michael Foster,
Nate is nineteen. Margaret is fifty-two. Their odd, quirky, totally working friendship gets rattled when Nate gets his first boyfriend, who drives him away from Margaret as she tries to pursue a life as a stand-up comedian.
An earnest but mostly preposterous thriller on the dangers of the closet
Lost Everything is the story of a closeted thirtysomething movie star and his overbearing, Mommie-Dearest manager; a journalist intent on outing him; a bartender who becomes the love of his life; some gangsters led by a ruthless black Godmama; an insane televangelist; two straight women; and assorted gay men - all in Miami. They're involved more or less with each other in what I suppose is meant to be either a thriller or an object lesson on the dangers of the closet.
The whole thing is so preposterous, though, that it's hard to take it as seriously as it clearly wants to be taken. It might have worked as a campy farce, but that's not how it was played. It seems from the interviews on the DVD that the people involved in making Lost Everything were deeply committed to it; the problem is that none of them had enough talent to make it work. The story, dialog and direction are ludicrous. The only credible performance is by Leif Holt as Christian (the televangelist's gay son), but unfortunately it's a very small role.
Kim St Leon, the director and co-writer, comes across as a really nice person, so I wish I could have liked her movie, but I just don't. The first ten minutes were SO bad that I almost gave up, but when I saw that nobody had reviewed it here I forced myself to finish it and even to watch the fairly extensive interviews on the DVD (the DVD says it includes a short called The Attachment, but it doesn't). It got a lot better the instant Holt appeared, and every time he was on screen the movie suddenly got interesting, but he wasn't on enough to redeem the rest of it. I'll look for other movies he's done, but he's all that makes this one worth watching.
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