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This place is nothing but chaos. Your God doesn’t even come here. Texas Killing Fields is directed by Ami Canaan Mann and written by Don Ferrarone. It stars Sam Worthington, Jeffrey Dean Morgan, Jessica Chastain, Chloe Grace Moretz, Jason Clarke, Annabeth Gish and Stephen Graham. Music is by Dickon Hinchliffe and cinematography by Stuart Dryburgh. Film is based around real events involving the many murders of women whose bodies have been found in a desolate area of road and wasteland between Houston and Galveston. Ami Canaan Mann is the daughter of Michael Mann, one of the masters of modern day crime story movies, so it’s not very surprising to see Ami, for her sophomore production, venture into murky waters. Texas Killing Fields is a bayou noir, where although the title hints at human devastation unbound, it’s actually a slow burning skin itcher more concerned with the people investigating crime than that of the perpetrators. How the sorry events affect all who come in to contact with the crimes at the film’s core, is what drives Texas Killing Fields on. Sadly the screenplay takes on board too much and nearly derails an otherwise very good movie. If it comes down to atmosphere and technical smarts in achieving such? Then this is one of the finest of recent times. There’s a constant sense of broody foreboding throughout, the haunting landscapes are all gnarly and spectre like, the whole area literally stinks of death and misery. Even when the story is away from the fields of the title, there’s a mood of despair filtering out from Mann and Dryburgh’s lenses, the hot Texas weather draining every ounce of sweat from the emotionally troubled detectives. All of the atmosphere is helped considerably by Hinchliffe’s music, which piggybacks the misery with ominous bluesy tones. Unfortunately all this deft atmospheric craft can’t stop the screenplay from being annoying. A sub-plot involving Worthington and Chastain as ex husband and wife is as pointless as it gets, which simultaneously wastes Chastain in the process. The makers have chosen to actually have suspects front and centre for the crimes on screen (unlike the real life cases, most of which remain unsolved), well they intend to keep it mysterious, but anyone paying attention will catch on quickly enough. There’s also problems with the sound mix, which at times is appalling, rendering some crucial dialogue exchanges as inaudible. Cast are good, especially Morgan and Moretz, and Mann shows a good hand at action sequences to compliment her astute mood setting skills. But this still feels like a misfire, and subsequent critical appraisals and internet rating systems have it as just above average. That’s a little unfair, there’s much for the neo-noir/crime movie crowd to get enthralled by here, but Mann may need to sharpen up her story telling whiles to fully bloom her undoubted potential. 6.5/10
Three women from three different social, economic, and ethnic groups discuss their lives in polygamous household.
Four women, four cities, four unflinching stories—this powerful omnibus film weaves together the struggles of women across Indonesia, from a midwife battling corruption to a teenager caught in betrayal, a mother fighting for her child, and a widow facing the harsh truth of survival.
At a mountain resort, Kenneth Scott falls in love with Marie Beauchamp, an older woman who merely amuses herself with him. When she deserts him to open a roadhouse, he sadly leaves the mountains and, in the company of an old wandering poet named "Doc" Podden, travels to a little village in the woods.
The mysterious "K" takes a humble job and falls in love with his landlady's daughter, Sidney Page. Sidney discourages her boyish admirer, Joe Drummond, and seeks training as a nurse. Infatuated with the head surgeon, Dr. Max Wilson, she accepts his proposal, which infuriates nurse Carlotta, who also loves Max. Carlotta lures Max to a roadhouse, where Joe, mistaking her for Sidney, shoots Max. K appears and, assuming his true identity as the famous Dr. Edwards, saves Max's life by performing his "Edwards operation."
In a beauty salon in Beirut the lives of five women cross paths. The beauty salon is a colorful and sensual microcosm where they share and entrust their hopes, fears and expectations.
Jamila is a prostitute serving a life sentence behind bars. She surrenders herself to the authorities after admitting she killed a high-ranking minister, and refuses to be represented by any lawyer or request a plea to ease her sentence.
Even though the protagonist of the Canadian Femme De L'Hotel is a female filmmaker, one would think twice before suggesting that this effort by Swiss-born director Lea Pool is autobiographical. Paule Baillargeon portrays a well-known director who returns to her home town of Montreal to film a high-budget musical drama. At her hotel, Paule has a brief but unsettling encounter with a suicidal elderly woman (Louise Marleau). This element of the plot is briefly forgotten as we get to know the actors in Paule's current project. Then she meets the old lady again, and with mounting incredulity Paule discovers that the actual events in the woman's life mirror the fictional events in the director's film.
On the night of their mother’s wake, three estranged sisters divide their childhood home over a pot of magic mushroom tea while a family secret boils to the surface. A story about the tenuousness of memory, buried trauma, food... and psychedelics.
A young woman’s quest for revenge against the people who kidnapped and tortured her as a child leads her and her best friend, also a victim of child abuse, on a terrifying journey into a living hell of depravity.
Dr. Feinstone has everything, a beautiful wife and a successful career in dentistry; but when he discovers his wife's affair, he realizes that behind every clean, white surface lies the stench of decay.