Excerpts of the life of a waiter who, living alone and isolated from the outside world developed an abysmal hatred of his fellow man. He finds himself quiz show after quiz show and then ...
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A conspiracy-theorizing filmmaker meets with a prospective producer in order to pitch a movie about the death of real-life German politician Uwe Barschel, in which the official ruling of suicide raised more questions than answers.
Matt is haunted by the death of a girl from a car accident he caused years ago. Matt was drunk and as he reached for the car radio, he struck the girl as she crossed the road. The guilt ... See full summary »
Keegan Connor Tracy
Controversial director Uwe Boll depicts the harsh reality of the process inside one of the most infamous Nazi death camps by using brutally realistic imagery. Book-ended by documentary ... See full summary »
A stranger named Silas flees from a devastating storm and finds refuge with Tom and Gillian on their farm. While struggling with the Storm, Silas seems to be the only one who can help Tom ... See full summary »
American journalists in Sudan are confronted with the dilemma of whether to return home to report on the atrocities they have seen, or to stay behind and help some of the victims they have encountered.
Excerpts of the life of a waiter who, living alone and isolated from the outside world developed an abysmal hatred of his fellow man. He finds himself quiz show after quiz show and then eventually brutal violence films that tame his desire to kill. But when his neighbour interupts him, he is freed from all inhibitions, and murderous campaign against everything that moves.Written by
This little production reveals what Boll was trying to be when he was still trying anything: another Michael Haneke. The movie feels a lot like this directors' works from the Eighties, e.g., "Benny's Video". The most distinguishing feature of Bolls recent movies, the overemployment of annoying visual style elements, is already present here, as the entire finale of the movie is shot from two intercut camera angles, and presented entirely in slow-motion. While I was quite happy with the dual-perspective idea, I could have done without all the slomo.
There must have been a very tight budget, and it shows: I'm pretty sure that the amok victims are all Uwe's buddies from movie school, and the long sequences where you don't see anything except videocopied episodes from a German TV show suggests that they had to try anything just to bring the movie over the rounds. Again, this reminded me a lot of Haneke's style.
In sum, it's surprisingly good for what it is, even though being a derivate of better directors' stuff.
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