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|Index||39 reviews in total|
A good watch...not academy material but very entertaining. The plot may
not exactly shine but the accomplished actors make up for its
shortcomings. Only the directing could have made this a better film.
Character development could have been better as well but is average
considering the run time.
This won't exactly be on rotation in my movie library but I could stand to watch this more than once.
I don't know why this hasn't gotten better reviews. I hear all the complaints but if you actually watched this movie and LISTENED to what the actors said you might have enjoyed it more.
Considering the initially negative but not very eloquent comments about
this movie but the promising trailer, I figured I might be in for a
Unfortunately, that was not really the case. And I would usually not review a movie like this because it is neither something I would recommend, nor something I would recommend to stay away from.
Yes, the premise is nothing new (but how many movies each year does one see where that is really the case?) and the acting is cringe-worthy in a lot of places (I especially could not believe the performance in some of Selma Blair's and Amy Smart's scenes - both of whom I found great in virtually every movie I've seen them in) but still, I think it is a nice little story.
I find it ironic how people reviewing this call various elements stupid while at the same time lacking the ability to comprehend Selma Blair's character. Especially considering that it is really very simple from a logical point of view. I don't see a point writing a review that contains spoilers, so I won't say anything more about this. But as always, a little empathy goes a long way and will make the viewer realize the motivations for certain things happening. Although I will not deny that some of them seem odd, rushed, out of character at first glance, many of these can be explained if given just a bit of thought.
Overall, I would say that it is a mildly amusing but pretty forgettable movie that is probably best experienced when not paying full attention to it.
Before watching this movie I wanted to like it. Being a fan of many of
the actors in this movie I thought it had the potential to be unknown
yet good movie, unfortunately that is not the case.
The premise was interesting a murder takes place in the room opposite from a woman with Agoraphobia and hasn't left her apartment in 11 years and from then on the direction of the film follows around this character. From then on the movie starts to fall apart, some of the acting verges on being poor,many of the films concepts become implausible and the films conclusion is just embarrassing.
However, the film isn't a complete loss, the story is enough to keep the movie at least quite interesting and is filled with many twists some of which lead to the films finest moments. Also, Kevin Pollak and Giovanni Ribisi put in performances that are at least rather good which is a shame due to their limited screen time.
In the end the film is so concerned in throwing as many twists as possible into it that it forgets in how to carry a story and in the end is left in a mess. In my opinion the movie is watchable yet but not good and I would be shocked if anybody were to find this movie anything higher than good. If presented with the opportunity of watching other movies viewers should look into taking a chance elsewhere.
A murder of an elderly lady resident in the high rise apartments of
Columbus Circle initiates the story. However the death is made to seem
to be an unfortunate accident with her falling down a flight of stairs.
Despite reservations by detective Frank Giardello (Giovanni Ribisi) the
crime is noted as accidental. Opposite the apartment lives reclusive
and agoraphobic Abigail (Selma Blair), a sole heir to an immense
fortune, but haunted by memories of fatherly abuse. Soon after the
death a new couple move opposite Abigail: the beautiful Lilian Hart
(Amy Smart) and her abusive partner Charles Stratford (Jason Lee).
Intent on igniting claustrophobic tension camera angles sweep and swerve, music circles and entraps, but overall atmosphere appears in short fits to dissipate thanks to an overall terrible performing cast, visibly unconvinced by the story being portrayed. Especially Blari and Smart fail to induce a sense of feasibility, not helped by the wandering script lightening up plot-hole receptors and creating a sense of ever-growing implausibility. The whole story is also overly predictable with clichéd scenes fronted by film school trademark shots completing this unimaginative and borderline repetitive movie. Despite the best Hitchcock inspired intentions "Columbus Circle" requires a high level of gullibility with its occasionally farcical acting.
This interesting suspense movie deals with a young woman named Abigail
Clayton (Selma Blair) who lives deeply alone . She is a heiress who's
been shut inside her apartment building for nearly two decades is
forced to confront her fears after one of her neighbors is killed . The
famous daughter of a wealthy industrialist, Abigail disappeared from
the prying eyes of the press and the intrusiveness of her family on her
18th birthday, the day she received her massive inheritance. During
years of self-imposed isolation, Abigail has had contact with only two
people-her building's Concierge, Klandermann, with whom she
communicates via notes-and Dr. Raymond Fontaine (Beau Bridges) , a
longtime family friend . When there happens the death of her elderly
neighbor , Police arrives to begin the investigation and prompts NYPD
Homicide Detective Frank Giardello (also producer Giovanni Ribisi was
previously in George Gallo's earlier movie Middle Men) and Detective
Jerry Eaans (Jason Antoon) to launch an investigation, the Abigail is
distressed to find him outside her door, asking to question her. Having
tried to acquire the dead woman's now vacant apartment to ensure her
privacy, Abigail is further upset when her requests go unanswered, and
new tenants Lillian and Charlie move in. Abigail anxiously monitors her
new neighbors from the safety of her front door's peephole, but her
well-ordered world begins to unravel when she finally encounters
Lillian (Amy Smart) and Charlie (First non-comedic film for Jason Lee
since The Ballad of Jack and Rose) face-to-face-and her sheltered
existence becomes threatened in unexpected and terrifying ways.
This is a nail-biting and exciting thriller well directed by George Gallo . The film contains suspense , thrills , twits and turns . From start to final the intrigue and thrilling scenes are continuous . This is a picture made among friends , as most of them either play , write or produce such as Giovanni Ribisi , Jason Lee and Kevin Polack . Good performance from Selma Blair as the attractive agoraphobic heiress who has not left her Manhattan loft apartment for almost two decades. All-star-support-cast formed by known actors as Jason Lee , Kevin Pollack , Robert Guillaume and the veteran Beau Bridges as a Doctor and her sole confidant for most of her life . Suspenseful and moving musical score by Brian Tyler . Colorful though sometimes dark cinematography by Anastas Michos . The flick was compellingly written and realized by George Gallo . He is a prestigious writer such as ¨Bad boys I and II ¨ and ¨Midnight run¨ ; being an expert filmmaker on comedy genre as proved in ¨My mom's new boyfriend¨ , Double take¨ , and ¨Trapped in Paradise¨ . His greatest success is ¨The middle man¨ and ¨Colombus Circle¨ results to be his only thriller .
*** This review may contain spoilers ***
*Spoilers* One of the most bizarre main stream movies ever made. Cops letting suspects go, forensic evidence plot holes, Voodoo computer wizardry by novices, Women who dye their hair perfectly in minutes... the silliness of this movie just doesn't end. If you can actually struggle through this... entire 'MacGuffin' of an ethereally plotted movie. If you can cope with the incredible and not too subtle changes in character psychology. So blatantly written, in order to move to the films inexplicable denouement. Then someone please tell me, how does the main protagonist, whom we are told has no personal identification whatsoever... expect to board a plane?
The storyline sounded promising.
I don't recall where it happened exactly, but with dreadfully poor films starring otherwise decent actors, it doesn't slap you in the face right away. There is sometimes a moderately long period before you realize you are not watching a good film. Then, and sometimes this takes a little while too, you realize you are not watching a mediocre film either. Sadly, unless you are a former short-bus rider, you will finally be assaulted with the fact that you are now many many minutes into a horrible movie, and because of it's competent cast, you were deceived into watching the first act, and now are committed to seeing how the rest plays out. How foul is that? Normally, with most arse-gravy films, it's obvious and up-front. In your face. Bless them for their honesty! But films like Columbus Circle, in my opinion, are the worst types of films. By the time you realize the film has soiled-the-bed, it's too late, and you must suffer through laughably wooden acting, ham-fisted writing, and ridiculously implausible situations. A line like: "I'm getting too old for this sh!t" would have felt quite natural coming out of Giovanni Ribisi's characters mouth. The writing is legitimately that bad.
They took what sounded like a potentially new take on the cop and agoraphobic scenario, and instead used tired lines, tired clichés, and forced these very capable actors into reactions/motivations which were nearly at the level of a students film. An advanced student, to be fair. But studenty nonetheless.
If you thought Giovanni Ribisi's character, acting, and lines were laughable in Avatar, just wait. The banter between his and Selma Blair's characters on their first meeting is just pathetic, and then just gets worse. Who writes like that? Well, this buffoon does.
Guess what genius, your audience isn't entirely comprised of the overwhelmingly ignorant. But apparently you either thought they were, or, you just aren't bright enough and/or a good enough writer/director to know any better? Who knows. (Gosh, Bad Boys II was sure good though, wasn't it?) I never regarded Copycat as one of my favorite films. But by comparison, it's a masterpiece. The poorly-written, poorly-acted, poorly-directed characters in this film are just that, characters. Or rather, caricatures. To say they are not "multidimensional" would be a bowel-shakingly gross understatement. They are developed REALLY poorly as well, and you don't care much for any of them.
She, him, the neighbors...it all plays out like an experiment in being as un-subtle as you can without reaching the point at which the audience wants to throw filthy diapers at the screen. How anyone can write like this and have it actually produced, says quite a bit about how things sometimes work.
"I'm just sayin, nine years on the job and it just doesn't add up" Really? I can only suspect Giovanni was cringing while reading/delivering those lines.
And pay careful attention to Selma's Oscar-worthy acting the morning after her new neighbor is forced to spend the night there. Really??? I feel dreadful for her. But do you blame HER, or this inept and out-of-touch director/writer? It's truly a dreadful film on nearly every level. Every actor, including Bridges and Pollak, seemingly did their best to give it that "phoned-in" level of craftsmanship. And I like both of them. Not in this film though. It feels like they realized how bad it was long after they were obligated, and turned in a poor performance to spite the director/writer.
This is more then a bad film, it's a statement. It's a worst-case scenario. It shows what can happen through the sheer will and tenacity of untalented people who are operating on skill alone.
They started this horrid little ball rolling, and yet no one upstairs had the common sense to stop it? Nope.
As far as bad films go, this one is a perfect storm. If it were just another honest (and transparently) horrid film, that would actually make it seem less perverse an abomination. And if it were better, then you wouldn't be reading any of this. But it's the porridge that Goldilocks chose in terms of a film that thoroughly insults the intelligence of those who are unfortunate enough to have made it through to the end.
And the feebly executed twist was a welcome sight, since it meant the suffering was almost over.
Students, learn from this. Mindless entertainment is fine. But when it pretends to be more then what it is, or is ignorant enough not to know, it crosses the line and turns into little more then a bad lie.
As my title says, this film is a crime for which there hasn't yet been a law passed. Which is a shame.
When I accessed the reviews for Columbus Circle, I couldn't believe all the negativity surrounding this production. Apparently, after this was made, there was no studio willing to release it theatrically. It went straight to video. I sometimes don't listen to the multitude of reviews that surround a certain film, preferring to make my own opinion. After viewing this, I found it to be a surprisingly good and watchable film with a good story, good acting and good directing. This was an original story which had a good denouement, very satisfying. I suppose that there was not enough sex and violence in this production to serve the prurient tastes of the mass audience. Tastes have changed much in recent years and I guess that there isn't much of an audience for a film that does not rely on CGI effects or gratuitous sex and violence. I even liked the main title sequence, which would not have been out-of-place on a suspense film made in the fifties or sixties. Maybe I'm in the minority here, but I liked this.
A collection of good, underused actors and actresses have been
assembled in "Columbus Circle". It's the type of place that is
described as anything can happen there. I'll take their word for it.
The events that occur in the movie get increasingly far-fetched as we
go along, and unfortunately, to the detriment of the enjoyment of the
An old woman is found dead in her apartment. The simple answer is that it was an accidental fall but the police are there investigating it as a homicide. The main character, Abigail (Selma Blair) lives across the hall. When a detective questions her, we are supposed to believe that is the very first time she has opened her door for anyone.
Abigail isn't really Abigail. She's a wealthy heiress who disappeared from home when she was a teenager, never to be seen from or heard from again. Her family doctor (Beau Bridges) is her only confidante, and she communicates via letters with the Columbus Circle doorman. The detective is curious about her because he sees her as a victim. If this were a better film that would have been a very intriguing element.
It's not a bad film per se, it's just that the characters that interested us at first start acting in unrealistic ways and we're left scratching our heads over the point of it all.
After the old woman's body is removed, Abby wants to buy the place just for her peace of mind, but instead it goes to a young savvy couple (Jason Lee and Amy Smart) who are constantly at physical odds with each other. Apparently, Abby is so distraught over the welfare and safety of her new neighbour that she invites her into her apartment. As you can likely guess a whole host of problems, crimes, double-crossings and shady connections come with her.
The actors were all good. The characters could have been good if there was a bit more development. The plot moved fine for its short run time. I was mostly impressed with Jason Lee and Giovanni Ribisi. This is one of Lee's only dramatic ventures in his filmography and it's a great divergence for him. Ribisi played a smart, shrewed and caring detective which is a welcome change to his usual parade of drugged-out dopey teenagers. If the other actors more closely portrayed characters that resembled real people with normal or interesting traits and attributes, then I could have appreciated them too.
I'm not quite with the person who described this film as a crime
(although he writes a good review); but this film certainly didn't
deliver what it promised in the opening act.
I'm a big fan of Selma Blair, and she does her best with the material given. Unfortunately, what starts out as an atmospheric thriller soon degenerates into an implausible hook (oddly enough, less interesting than if they'd just continued the original storyline), with a horribly pat ending, complete with cops discovering a cellphone ringing at a grave, that has "10 minutes to wrap" written all over it.
All of which is a great pity, because it had a good cast, and there was some decent acting on display before it all goes west.
So: not a crime, but certainly not all it could have been. For a much better movie with a similar theme, see 'Copycat'.
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