A debauched Hollywood movie actor tries to piece together one wild night in Miami years earlier which remains a drug-induced blur, and soon finds out that some questions about his past are best left unanswered.
Born in the Bronx and raised in upstate New York, Abel Ferrara started his professional film career on Mulberry Street in 1975. For the past year he's been living on the block, and the ... See full summary »
Maas and Hosaka are two large Corporations in the future world. They are fighting to get control over the best minds of the world. The best is Hiroshi and at the moment he is working for ... See full summary »
New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family's three ... See full summary »
Chelsea on the Rocks celebrates the personalities and artistic voices that have emerged from the legendary residence, the Chelsea Hotel, in the heart of New York. Once considered an ... See full summary »
NO SAINTS is a web series directed by Abel Ferrara, chronicling fictional events that take place at the fashion/textile company, MTI USA. The web series star non-actors, namely Tommaso ... See full summary »
Judgement day is upon us. Having raped Mother Earth for resources we have brought about her death with her essence dilapidated and ravaged, thus bringing about an abrupt end to all life, as we die en masse with a bright light of an ozone layer mega-burp. People attempt to cope with the inevitable, mostly be lingering around a computer with Skype access to say farewells, or just start jamming out some sick melodies online. A successful young painter Skye (Shanyn Leigh) and her elderly famous actor lover Cisco (Willem Dafoe) spend their last days next to each other, mostly absent in mind and body, occasionally getting down and dirty with sex the ultimate completion of love.
Resident American bad-boy Abel Ferrara grinned across the red carpet in Venice in 2011 with his apocalyptic end of days summary of human existence. Closer to the self-flagellatory oblivious oblivion of von Trier's "Melancholy" (also with respect to possessing an equally idiotic premise for Earth's demise) than the light-weight, but emotionally engrossing "A Friend for the End of the World", Ferrara's independent drama dwells in overly prolonged moments, which litter the movie, but fail to fill it with substance.
Rough around the edges (to say the least) this poke at sci-fi follows the same old path as most art-house directors attempting to venture into the genre: they introduce an absolutely absurd plot and justify this laziness with 'symbolism' and 'higher purpose'. Maybe not as idiotic as the incoming planet Melancholia, but still thinly layered and done with much less poetry than von Trier. Here we have a notion introduced that 'Al Gore was right' and that the depleted ozone layer will cause the world to burst into flames at one precise moment, ie. 4:44 AM (not even the biggest pessimists of global warming would ever conceive something as absurd). Meanwhile, before this sudden blast of fiery fury life goes on as usual, even on judgement day street life seemingly unchanged (apart from certain minor events), while no cosmic events lead up to the inevitable. Cisco portrays culpability of every single human being through a dream sequence, where he cuts down a tree. Basically showing the heavy-handed approach chosen by Ferrara. Now... I can be labelled somewhat of an eco-nut, but the symbolic premise is brutally thin and sloppily added on, with no true feel that the end of days is upon us (a far cry from the limited ambitions of "A Friend for the End of the World").
Dropping the eco-pretext and letting it linger in the background the movie is about ending, closing and accepting. But is closure ever possible? Maybe not, but acceptance is inevitable. Here we labour down this path following the whirlwind emotions with snail's pace. Furthermore with death creeping ever closer we find Skye more intrigued with finishing her final painting, while Cisco spends time peeping through binoculars into other people's houses, possibly Ferrara's suggestion that detachment was natural, while only the ultimate end pulls people back into each others arms. Nonetheless this solitude near the end serves to offer two worthwhile scenes in the movie. The first involves a Vietnamese immigrant, who still delivers food on judgement day, simply because he is disconnected from his family abroad and in his lonely desperation decides not to alter his path. The other has Cisco observing other people during the final minutes of existence and almost admiring how they cope with the inevitable. Two scenes alone which made the movie a passable experience, even if the contrived dysfunctional relationship of Cisco and Skye just drags along to a poetically unsatisfying conclusion.
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