During a routine hit, "Boots" Mason (Gary Stretch) learns a hit has been placed on his own life when a crooked cop, Dunn (Vinnie Jones), tries to kill him. While seeking his revenge, ... See full summary »
A group of five people working to stay alive in a post-apocalyptic future discover what they think is a safe, abandoned farmhouse, but they soon find themselves fighting to stay alive as a gang of bloodthirsty predators attack.
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When the mother of his infant son unexpectedly passes away, struggling actor Mark grapples with fatherhood and his inability to grow up. And when he sparks with a single mother, he learns how his choices have real-life consequences.
There's a murky tenuous balance between reality and fiction; particularly when it involves a beautiful young woman, murder, a powerful politico, a missing fortune and suicide. A passionate filmmaker creating a film based upon a true crime casts an unknown mysterious young woman bearing a disturbing resemblance to the femme fatale in the story. Unsuspectingly, he finds himself drawn into a complex web of haunting intrigue, obsessed with the woman, the crime, her possibly notorious past and the disturbing complexity between art and truth. From the Smoky Mountains of North Carolina to Verona, Rome and London, new truths are revealed and clues to other crimes and passions, darker and even more complex are uncovered. Written by
As 'Road to Nowhere' begins, pre-production is underway on a movie project about a notorious murder case involving an absconded embezzler, faked accidents and substitute corpses. The director is seeking a lead actress to play the crime's femme fatale - and his search soon unearths an uncanny double of the villainous vamp, whose only previous credit is an 'exploitation' movie. Coincidentally her character is called Velma - which also happens to be the name of the duplicitous missing showgirl in Raymond Chandler's 'Farewell, My Lovely'. After two-thirds of the film is wasted on long shots of characters tying their shoelaces, watching nail polish dry and rehearsing inconsequential dialog, the actress embarks on a tepid love affair with the film's director, which results in some unexplained melodramatic discord and a violent conclusion.
Although film-within-a-film concepts have been used previously, as in Truffaut's 'Day For Night' and David Lynch's 'Inland Empire', a disciplined director armed with a coherent screenplay should be able to conjure fresh life from the old dog. Unfortunately 'Road To Nowhere' never provides any useful information about the original crime or those involved, nor does it ever clarify various intrigues amongst the film crew. Director Hellman justifies all the heavy-handed movie references and opaque mysteries by claiming he prefers surreal narratives - but his excuse is fraudulent. This isn't surrealism - it's just dull story-telling - or more accurately, no story-telling.
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