If the Guinness Book of World Records had a category for most prolific 'Scream Queen' then Debbie Rochon would be a serious contender. With almost 250 credits as an actress, according to IMDb, she has been a constantly working actress for some 35 years. Ms. Rochon was an integral part of the transition of horror from the exploitive use of sex and gore that defined the grind house era to the campy self-parodies that would follow. One of the latest examples of this sub-genre of horror is 'Model Hunger'. One thing that must be noted before proceeding is that 'Campy Horror 'is most definitely an acquired taste. Superficially it comes off as exceptionally amateurish performances, corny dialogue and a directorial style that appears to want to include every unusual camera angle or lighting trick been counted in their freshman year of film school. However, the connoisseur of such over-the-top and outlandish entertainment is immediately obvious that Ms. Rochon could provide graduate-level instruction on this category of cinema. In the first few scenes it is evident that this film is not to be taken seriously but rather is something that will surround you in a certain realistic world really absurd is commonplace and liberally mixed with readily recognizable popular culture references. The screenplay was provided by James Morgart, who has exceptionally eclectic resume in filmmaking. He has almost every drop conceivable on the set up a movie from arranging for transportation.
The film opens up with a scene that is present in an inordinate number of grind house horror films, cheerleaders practicing. At the conclusion of the session the coach calls for girls to go informing them that once again school budget is tight and more cuts are being made that drastically and adversely affect the funding for cheerleading. As such once again are required to sell various be made and overpriced catalog items. The current captain squad, Missy Wallace (Lisa Dee) is told in no uncertain terms that she has to exceed the previous year's highest sale record in order to retain her captaincy. In one of the stylistic trademarks there is a shot of a strange man taking several drinks from his fifth flask as he watches the girls on the field. This complete non sequitur but does serve the purpose of creating an extremely disconcerting mode, ideal for this type of film.
Along with her best friend and going door-to-door only the barest of success finally comes of the household little old lady was losing with Southern charm, Ginny Reilly (Lynn Lowry). Ms. Lowry is a veteran of some 80 films of this sort. The court invites the girls to come inside for some the as she listens to what they have to offer. She explains that a favorite television show is just starting. The girls sit down as their overly cordial hostess begins to prepare some refreshments may notice that the show Ginny referred to as a very favorite was just beginning, 'Suzy's Secrets'. It is hosted by Suzy was portrayed by yet another veteran of the specific genre, Suzi Lorraine, wearing an extremely poorly made That suit. She has this running monologue that continues to every that show appears concerning how unfair it is that society promotes a completely unrealistic and harmful you that beauty for young women is little more than an "airbrushed skeleton". Scenes of her delivery her monologue intercut people messily and albeit in a pseudo-sexual manner feeding each other. There's often extremely overweight transsexual model. Offensively the show was supposed to be QVC like on air stopping show completely bizarre oversized items be offered for sale. As Ms. Ginny serves tea and cookies Missy excuses so rather rudely to go to the bathroom. As she does her friend is the best remain cordial but as soon obvious that tea has been heavily laced with some sort of sedative soon the pretty blonde cheerleader out like a light when Missy comes out of the bathroom and notices of friend's condition Ginny applies an external sedation by hitting her with a baseball bat. Down in the basement Ginny has everything possible to turn pretty cheerleaders into meat for meals and treats that Mrs. Lovett would envy.
As it turns out Ms. Ginny is not much will braced and takes the girls call down to a CD working garage owned by a friend of hers, Colin (Brian Fortune) with the help of his even seedier assistance, Verrill (Aurelio Voltaire) whose primary purpose it is to strip the cost down to parts. There is a bit of irony here that both of them are in the spare parts trade with Colin processing the more familiar automotive disassembly while Ms. Ginny provides a similar service. When you consider how gory explicit most movies of this type have become credit must be given to the filmmaker when it comes to establishing a little lady with old world Southern charm is actually accountable and serial killer. Almost every scene that establishes the cannibalism it is done in such a fashion as to distance itself from the fact that an actual human being has been killed and is being devoured. In what has become de rigueur for this genre the use of viscerally targeted stage blood and whatever viscera can be found at the local butcher shop.
This movie is actually exceptionally entertaining if taken in the proper light. If you're expecting a writing display of murder, mayhem and cannibalism will be very disappointed but considering that is not part of the vision created by the filmmaker. One thing that makes this movie successful is that the character of Ms. Ginny's will now sleep more complex and psychologically textured. A back story is slowly revealed that she was once a lingerie model for sleazy photographer where she is replaced as cover girl by his significantly thinner model. She is told by the photographer that she is too Romanesque for today's primary audience. She is a sure that you can still find work for magazines where the fetishes displayed a preference for larger girls. This is where he began to see from Suzy's Secrets, that exposed the essential value of women with more meat on their bones. The essence of the story is an indictment against what has come to be known as 'fat shaming', particularly on the Internet. The time period that the story takes place in is somewhat ambiguous and could very well be set in the 70s or early 80s as evident by the use of public access cable stations such as the one that boasts Suzy's Secrets'.
What is most likely only to the true target demographic of the movie it is a near perfect representation of a exploitive horror film that was possible under the then brand new rating system instituted by the MPAA. In order to avoid the notorious 'X' rating, now rebranded as 'NC-17' the filmmaker had to exhibit some degree of ingenuity to convey rather explicit content to the audience yet avoiding and truly graphic overly graphic imagery of a sexual or gory nature, it was difficult for most filmmakers but after 35 years of acting in such flicks Ms., Rochon has assuredly mastered the necessary techniques.
When many of us were kids some of the first comic book we collected was Superman and Batman. Each month the anxiously awaited the release of the latest issues featuring incorruptible Superman ever brooding Batman as they for crime and their own respective cities. We also collected 'World's Finest' comic book the combined both of these iconic heroes working together. This was just the precursor towards another comic book that bring together the major heroes in the entire DC comic book universe, 'The Justice League of America'. After the phenomenal success of the Marvel Cinematic Universe water problems decided to follow a similar plan in the DC universe' s super group to the screen. There've already established a very popular trilogy of movies with Batman, ignoring a series of films made in the early 90s featuring this character. Concentrate among the more mature and gritty 'Dark Knight' persona of the vigilante crime fighter. Strategy mirroring that Batman was used Superman concentrating on the latest incarnation of the Man of Steel. It was only natural that fans would then stop to anticipate the studio would attempt to capture the synergistic energy that Marvel had the Avengers using the JLA. Earlier this year the fans received the first will be to introduce the main DC comic heroes in a film that would gather them together, 'Batman v Superman: Dawn of Justice'. In Henry Cavill would reprise his role as Superman/Clark Kent much of the confusion of fan the latest actor chosen to wear the cape and cowl was Ben Affleck. Most people this is a very unusual choice and one that diehard fans for certain destroy the film. His last outing as a comic book hero Daredevil back in 2003, a movie that was not well received. It was also noted that this would make Mr. Affleck the oldest actor to portray the caped crusader. The produce is the knowledge is having Bruce Wayne sport a bit of gray at the temples. Although the film to recoup its almost quarter billion-dollar budget bill significantly short of the record-breaking box office figures generated by the MCU. Now we have the home to release of the film available in a myriad of formats and packages.
This film begins 18 months after the devastating events that were depicted in the film 'Man of Steel', where Superman (Henry Cavill) or a fellow kryptonian, Zed (Michael Shannon) forming his plans to enslave the planet Earth after terraforming it to create a new Krypton. The ensuing combat devastated city of Metropolis resulting it is staggering destruction of property and more importantly bringing death and injury to many citizens of the city. In this universe often city and Metropolis on opposite sides of a bay for the people of Gotham City could watch with horror at the unfettered destruction. One of those observing his tragic battle was Bruce Wayne has been waging a vigilante war against crime for the last two decades as Batman. Bruce becomes gravely concerned that although Superman is extensively helpful he has the potential for global catastrophe. Meanwhile on the other side of the bay, Clark has moved in with Lois Lane (Amy Adams) but it becomes increasingly upset upon hearing about the Gotham vigilante and decides to by the crusade against the writing on The Daily Planet. Is this requires ignoring his normal assignments as editor-in-chief, Perry White (Laurence Fishburne) exceeds his normal level of aggravation.
There's been a lot of talk about just how badly constructed theatrical cut of the spill came out. The Extended Edition does provide almost a half hour more material and for once it does actually make for better film. So many cases so-called 'director' s cut' or "extended" cut" additions amount to little more than a few minutes of extra material and a more of a marketing ploy to get the fence to repurchase the same again. In this instance the added material completely changes the pacing and the clarity of the narrative of the film the last time I remember such a drastic difference Extended Edition with James Cameron's 'The Abyss' where the added material was completely necessary to make sense of the movie provide a proper ending. Here the extra material clarifies so many plot points and adds a good amount of nuance held the story is told. Initially Lois is seen traveling to the Middle East to have an unprecedented view with warlord. Things quickly go sideways she's about taken captive and killed. The CIA had been planning an attack on the outpost disrupted and Superman come swooping in to save Lois. This was necessary for the intrusion of a major plot line of the military was testing a recognized use of kryptonite. The Kryptonian mineral had been discovered by Lexcorp, owned and controlled by Lex Luthor). He put the vast resources of his company behind searching for other meteors containing kryptonite until they finally found at the bottom of the Indian Ocean large quantities of the glowing green rock. As soon as Batman finds out about this he plans to steal the kryptonite in order to create a 'silver bullet', defense against Superman should he go rogue.
Extended to allow for more character development which showcases some of the more interesting casting choices. Of all the actors were taken on the persona of Lex Luthor, Mr. Eisenberg has come up with a very interesting variation. He portrays the iconic villain as an enfant terrible, the psychopathic genius nearly unlimited financial resources. As in the animated the universe he is always followed by his chauffeur/bodyguard/confidant Mercy Graves (Tao Okamoto) who is as deadly as she is loyal and beautiful. Mr. Eisenberg certainly has the affectations of a person without conscience manifesting some of the attributes of OCD. Many of these things are quite subtle but their contribution to help you perceive the character is enormous. People had worried about how Ben Affleck would do such an important role in the comic book world. As mentioned one of the main complaints is age, Affleck utilizes this was best advantage spin on the character. He was a man who is been doing this for 20 years, bringing criminals to justice that would otherwise be untouchable by the actual authorities. A great deal of effort is given to showing that despite Batman's trepidation concerning Superman and the collateral damage courses, he is far from innocent another account. The 50 caliber machine guns mounted on the Batmobile and his battles often winding up with the death of the criminals potentially some innocent bystanders Batman does not have a solid standing to call out Superman's grounds. Demonstrated that Batman vigilante is in for over-the-top that he is taking the branding criminals he catches with the bat. Criminals marked with this brand of a very short and painful time in prison.
The more discrepancies are best shown in the Extended Edition. Both Batman and Superman are exhibiting a notable amount of hypocrisy in going after each other. Superman may be able to inflict damage on a far larger scale because of his powers but that means split with disregard for the law is also a serious concern for public safety.
The extended cut is rated on as opposed to PG-13 given to the theatrical cut. This is mostly due to the exaggerated degree of violence third act of the director's original vision. By the time Wonder Woman (Gal Gadot) joins in the fight against Doomsday genetically engineered abomination made by Kryptonian technology from the corpse of generals Zod, there is barely enough time to catch your breath as the director showcases most of the hundred-million-dollar budget was spent the special effects are incredibly well done especially in the battle between Superman and Batman it is recognized mechanical suit. That suit at a similarity to the Mark-1 suit that Tony Stark came up with in Afghanistan. The details given to these battles is remarkable especially if you were able to watch in the 4K version of the set. For some reason none of the various packaging sets these movie includes all possible technologies. If you choose the 3-D Blu-ray variation that only applies to the theatrical cut, the extended cut is the normal Blu-ray. However, decide to go for 4K release in the 4K applies only to the theatrical cut with the regular Blu-ray to the extended. I can understand the reason for this two systems are mutually expensive but it would've been nice to have a specialized format applicable to both additions.
All comes down to the theatrical cut feeling as though significant portions of the film have been removed, they were. The extended cut feels complete and thus tell you much better version of the story but it has committed over three hours in length. This is generally considered excessive for theatrical showing but in a distribution method pioneered by Peter Jackson with his Middle Earth films is fully acceptable to have such lengthy stories only told the home theater use.
The latest offering from Lions gate, 'The Perfect Match' reminded me quite a bit the type of movie that was popular in the 60s, the sexualized farce. Rather than being character driven it was a situations that serve to form the main plot. Any change in the character's demeanor or fundamental essence is not so much due to their own effort to change but as a result of the often ludicrous situations they have placed themselves in. A very common plot contrivance to create the necessary situation is to have two friends make a wager that the main protagonist cannot alter some fundamental aspect of their personality. For example, a habitual liar may be challenged to have to tell only the truth or a confirmed bachelor challenged to find a suitable young lady and marry her. Fifty years ago the execution of this faced a number of challenges to how the filmmaker could exercise his creative vision. These moral judgements were imposed by the studio's Standards and Practices Department. The more talented auteur would be able to work around these restrictions testing their limitations and enforcement turning them to their own advantage. They were able to create rather clever movies while skirting the sensibilities with the people charged with maintaining what had been decided to be a suitable moral code of content for films. Many of these movies became the standard fare for some incredibly talented actors such as Rock Hudson Doris Day and Jack Lemmon. With the current permissive environment, it has become increasingly tempting for the current generation of directors and screenwriters to become unconcerned with subtleties or double entendres as there is practically nothing that cannot be shown in a modern movie. Even if they were targeting a a mild rating from the MPAA of PG-13 the degree of sexuality that is routinely allowed remains far more than any director of the classic cinematic farce could ever have dreamt possible. The movie is left without the necessity of avoiding the rating' s review board through clever sophistication and nuances of a tightly crafted script presented by the has the back was well versed in this particular form of comedy. I am certain this was an honest try as demonstrated by a trace of enjoyable twist of the circumstances that ultimately is unable to be fully manifested.
Charlie (Terrence Jenkins) is what used to be called a playboy but now more frequently is commonly referred to being a player, is convinced that a mutually emotionally satisfying relationship between a man and woman is impossible. This perspective negates the search for Miss Right to simply 'Miss Right Now'. It is not so much that his attitude towards women is mean-spirited, it's just that he enjoys playing the field eschewing a stable relationship for brief encounter of mutual sexual satisfaction. This doesn't sit well with Charlie's sister, Sherry (Paula Patton), who is a therapist speaks almost entirely as if she was recording an audiobook from New Age self-help guide. She is certain that Charlie's emotional stagnation is predominantly due to the death of their parents. Charlie's cavalier attitude is actually an asset to him professionally. He Is a talent scout who must always be prepared to help his clients face any emotional maelstroms they might encounter. The movie does embrace the fact that we are living in an Internet driven world. Charlie is quite expert at manipulating all forms of social media including but not limited to Facebook, Snapchat and Instagram. The first two minutes of the movie demonstrate how useful these talents can be forwarded the hedonistic aspects of his private life. During a casual time on the beach Charlie targets a very attractive young woman and within the first few moments manages to convince her return with him to his apartment better known in situations such as this as is bachelor pad. Charlie smoothly ran from an offer to take this young woman's photograph that will be suitable for garnering an actual number of hits online and quickly turns to an afternoon of energetic sex. This element of the story presents a two-edged sword as it relates to establishing the contextual foundation of the story. Satisfies his need for constantly changing sexual partners but it is hardly conducive to enticing him to settle down.
Charlie is surrounded by a larger cadre of friends, mostly couples that includes Victor (Robert Christopher Riley) and Ginger (Lauren London), who are currently engaged at the having known each other as they were children. Major point of contention between them Ginger earned substantially more than Victor. Another couple, Rick (Donald Faison) and Pressie (Dascha Polanco), who on the verge of panic over not being able to conceive despite all their efforts. Despite the fact that neither of these couples are in relationship without the angst and trepidation that faced many people they are constantly haranguing Charlie forgo his bachelor assistance and find someone suitable for a serious relationship. This is a common plot point found in most romantic comedies but as mentioned above this movie comes off more is a farce of the pressures generated by Charlie's friends escalated to an almost unrealistic level.
His married friends finally reach a point where they are certain they must put a stop to Charlie's concept of life as a sexual buffet and have them settled down with one woman. Point of contention that many might find with the premise of this film is that here in the 21st century delaying getting married small more commonplace than it was 50 years ago. Why does seem to be a predilection for married people to have their friends forgo single life, the underlying plot device here comes a course is unnaturally forced and inconsistent with current social trends and expectations. Charlie's friends cajole him into accepting a wager; Charlie is to date only one woman for the next month, a period of time that will end with the wedding day of Victor and Ginger. Charlie is exceptionally proud of his self-confidence and agrees to the vet certain that he will be able to succeed. Only a few frames of film go by Charlie's acceptance and is encountering Eva (Cassie Ventura).
Eva has only been in long-term relationships throughout the life, she is very much a serial monogamist. She has seen how the of embraced the best variety in the dating pool and the size of what she wants most now is just to enjoy life, have fun avoid commitment next time she becomes involved with a man. This is the foundation for the farcical juxtaposition of opposites. Ironically Charlie and Eva would not have been compatible notwithstanding the bet. The director of this film, Bille Woodruff, has built most of his career with music videos and music/dance oriented movies such as the early Jessica Alba vehicle, 'Honey' as well, as it sequel, 'Honey 'in the soon to be released 'Honey 3', the latter two without the talents of Ms. Alba. This may not be his first nonmusical oriented movie, but he is still very much on the learning curve and his efforts here would indicate that he should be able to make a realistic alteration in preferred themes for his films. The screenwriters, Gary Hardwick and Brandon Broussard both have substantial credits in both television and film predominantly in projects featuring the talents of African-American actors, specifically comedians. The only qualms I had, but the screenplay here is I felt they should have highlighted the farcical elements that in trying to create just another romantic comedy.
Since 1937 Walt Disney Studios cinematic history with the release of the first feature-length animated movie, 'Snow White and the Seven Dwarfs'. Back then many people consider this just very long cartoon and denying it the same respect as a live-action film. It was only recently that the Academy Of Motion Picture Arts And Sciences designated a separate best picture Oscar the animated film. Dominating this category from the very start is the Walt Disney Studios, continuing to maintain their position or supremacy in the art form they began. Whenever a new movie is announced fans and critics alike know that this a few things that will be certain; it is going to be one of the highest rated movies of the season in its box office is going to approach staggering heights previously unimaginable. The latest movie from the House of Mouse clearly demonstrates these facts, 'Zootopia'. Universally acclaimed by the critical community the opinion of the fan base is clearly demonstrated by his nearly $1 billion in box office running in an undisputed place in the record books. This is the 55th movie in the ever-growing 'Disney Animated Canon', and it builds upon the theme that has been consistent throughout long cinematic reign. There's something new with anthropomorphizing animals. As a significant place in almost every religion and mythology the coaches have embraced throughout time. The Disney studios are no strangers to humanized animals carrying the story but this film takes things to a completely different level. 'Zootopia' is set in an alternate reality where most major types of mammals are sentient and have constructed their own civilization. In many ways it mirrors our own was the many allegorical connections to humanity are present in typical Disney fashion they represent an undercurrent that may be discerned by adults but in no way will interfere with the enjoyment of audience members of any age. So many movies claim to be family films but the either have nothing to really hold the adult interests making it a chore to sit next your children while watching. This movie is the epitome of an entertainment and instruction in such a fashion that there is something contained within it that will hold the attention of everybody from the younger sister the grandparents.
Judy Hopps (voiced by Ginnifer Goodwin) is a young rabbit was smart and ambitious. She is from the small rural town of Bunnyburrow, making her the archetypical idealistic girl from a small town looking to succeed in the big city. She diligently applied herself to her studies in the Zootopia police Academy graduating as valedictorian. She hopes that this will put her in position to become the first female officer in the city. Instead of police work that you work so hard to master Judy is relegated to the traffic division is little more than a meter maid. Her boss, Chief Bogo (voiced by Idris Elba), a Cape buffalo, is hidebound to the old tradition of no female officers and despite Judy's formidable Scholastic record doubts her ability to do real police work. First day on the job did not do much to change the opinion of the male establishment. Judy finds itself outmaneuvered by a pair of boxer criminals, Nick Wilde (voiced by Bateman) and his fellow con artist, Tom Finnick (voiced by Tiny Lister). A next day she tries to redeem herself by abandoning her and traffic detail and arresting a known thief, Duke Weaselton (voiced by Alan Tudyk) who stole some flower bulbs, a change of his usual crime of bootleg DVDs. Rather than the accolades the chief chastises her for neglecting her assignment. Just then something happens that is going to change Judy's career path and drive the remainder of the story. An older female, Mrs. Otterton (voiced by Octavia Spencer) we need somebody to help her find her missing husband, Emmitt Otterton. As so often is the case in this movie the name is a reference to his species is both wife and missing husband are both North American river otters. In all cases a great deal of effort is given into property representing different species maintaining as many of the animal attributes as possible by portraying them in an anthropomorphic fashion.
One of the most enjoyable aspects of this story, at least for the grown-ups, is how well is simulates a typical police procedural specifically the perennial favor the mismatched buddy flick. Judy needs to come up with some way to get the investigation moving so when she discovers that Nick was the last one to see the missing Otterton she realizes his assistance is crucial. She tricks him into confessing to tax evasion and subsequently leverages his reluctant cooperation by blackmailing the criminally inclined fox. These tactics are on a level far in advanced of what a child could fully comprehend and are obviously targeting the parents. Kidnapping, tax evasion, blackmail and gender prejudice are not the typical plot devices found in the traditional family movie but it is consistent with the trend Disney has been following for decades of not talking down to the audience. As far as the kids are concerned smart Judy has tricked the mischievous fox in to helping her solve the case. The grown-ups will undoubtedly recognize the contextual similarities to such movies as '24 Hours', or any of a plethora of stories that partner a cop and criminal together.
The plot continues in this fashion as additional sub-plots are infused into the story. There is the clue that the missing otter became 'savage', deteriorating into a feral stat as manifested by attacking his chauffeur. While in this state Otterton was ranting about 'night howlers'. This thread is expanded upon encompassing how predators are considered a minority and further more a drug is eventually a drug is proven as responsible for the violent behavior. By utilizing constructs that include stereotyping, bullying, and drug related violence the parallels to the real world are strongly integrated into the story. Perhaps it is intended for some didactic meaning trickle down to the younger audience members but it certainly ensures the story will readily capture and retain the interest of those past their legal maturity.
One element that all ages will agree upon as delightfully entertaining it is the animation. Some have noted that there is a predilection for an animated feature to lose much of the warmth and subtle nuances in a film that depends on manually drawing and coloring each frame of the film. At a conservative 24 frames, or cells per second a movie like this with a running tome of 108 minutes requires 155,520 individual cells. Walt Disney has been expert at breathing a sense of humanity onto their animation for several decades. You will find yourself forgetting that you are so caught up watching the antics of a bunny and a fox or that this story takes place in a city entirely populated by a myriad of talking animals. Topping it off is this is another excursion into the technological advances of 3D. Many filmmakers and studios are devoting considerable time and resources into creating the illusion of depth but extremely few have been so affective in achieving the feeling that it realistically contributes to the process of telling the story and enhancing its enjoyment for everyone.
There are a lot of different plot lines that can be used the driver science-fiction oriented story. One of the most popular has always been time travel. Of all the things that defined the physical universe many have been understood and controlled by man. We can defy gravity and fly and even also the very genetic makeup that defines us as a life form. The one thing we have never been able to do is enable us to move ourselves back and forth interrupting our inevitable along the unidirectional river of time. This fact is sufficiently intriguing to ensure an audiences interest in the story always gets in the way threatening to collapse the plot upon itself is the inevitable paradox. If you go back in time to shoot your grandfather, then how did you ever manage to be born and invent the time machine in the first place? There are various subcategories of time travel stories delineated by how they handle paradoxes in the context of the story. The name of the film on the consideration here unequivocally states this movie is going to play with the paradoxes to provide amusing nuances in the story. That dome is 'Paradox' the latest movie by director/writer Michael Hurst. Like many stories, particularly those of a trans-chronological nature are somewhat of an acquired taste and require an ability to overlook any internal inconsistencies and ignore the natural inclination to resist logical impossibilities. Save for discussion with friends after working have the only expectation to take into watching the expectation of having some fun. An indication that this is the correct manner to experiences film can be seen by how it is rated by any one of the many conglomerate ratings sites popular on the net. When the critics tend to handle film audience members of discovering merits this indicates something very important that you guide how you prepare yourself to watch the movie. This is a film that is not made for the critics, it was not created to be dissected and analyzed with cinematic merits. Instead it is something that fans can enjoy because they are free to just associate themselves in the overly critical part of their minds and allow themselves to be immersed in the story particularly the character development. Think of it is something that might be generated by a group of quantum telling stories around summer camp fire.
Scientists including Jim (Adam Huss) and Gale (Zoe Bell) have been working on the time machine quite a while and finally they feel they are on the precipice of success. The film may appear to begin in medias res but that, as we shortly will discover, is just an illusion which ultimately will start the plot points falling like dominoes lined up on a Mobius strip providing the justification for the title of the movie. Jim is stumbling about all the facilities the work on project 880 immediately realizes something drastically worn. Graphically he tries to call Mr. Landau (Malik Yoba), a visiting scientist invited by the project heads to justify and document the success of their hard work. Mr. Landau allows the call to go directly to voicemail thereby missing the frantic warming that Jim is trying to give him. He urges and not come to the lab this morning that if he does everyone will die. Infusing the film with a touch of slasher flick motif the person responsible for the carnage is walking around dressed entirely in a black rubber hazmat type suit with a matching black gas mask. How perspective is then pushed back in time to when the team was assembling for the trial run. Besides Jim and Gail the team includes a wheelchair-bound Lewis Aberricki (Bjørn Alexander), who is holding a small video camera and appears to be in charge of documenting the test. There is also Van Lang (Steve Suh) who is bizarrely blowing bubbles using a child's bottle and wand. Apparently he quit smoking and this relaxes him. Odd how they can create a time machine but they can't seem to figure out how a nicotine patch works. There is also the only obnoxious and self-centered William Wishman (Brian Flaccus) seems to be unfazed being part of the team to send a man through time. We are now looped around to the point that Jim is about to go through the fear created by the time machine, a dais in the middle for metallic antennae. When Jimmy emerges from the field he sees a body on the floor, decapitated the gun lying next to its dead hand. An automated voice announces "self-destruct in four minutes". Jim manages to catch up with his teammates and tries to warn those results in a rather esoteric discussion of the immutability of time and fate. Louis tries to recover the video from the camera but it only gives brief segments of their conversations. Meanwhile there are some government people trying their best to get down to the level of the facility that houses the project.
There are a number of factors infused in the construction of this movie that does set it above a substantial manner. By limiting the scope of the time jump to a single hour several of the most crucial memes are automatically folded in. the ever popular plot device of the ticking clock and the Sword of Damocles are organically created as Jim knows without doubt that in just sixty minutes his co-workers will be brutally slaughtered. Since the audience is privy to a god like point of view we have to reconcile what we know through Jim's jaunt to the very near future and what we are observing unfold from the chronological vantage of the rest of the team. This also gives us information about what is occurring to various crucial characters that will directly results in what occurs. A great part of the enjoyment derived from the multiple perspective adding to the escalating mystery.
The typical fault that adversely affects most offerings in this genre is to stick so closely to the predetermined checklist that there is no place to distinguish the movie from the plethora of others, the filmmakers here skillfully blended a slasher flick with a temporal mystery throwing in a conclusion that introduces plot points of conspiracy and a greater paradox surrounding the one faced by Jim. It would be far too much of a spoiler to allude to specifics but even if you manage to reach the correct conclusion it is the journey to the ending that will entertain you. The movie will not be included on any 'best film' list but many deserving films share the same fate. As mentioned those of us that lived before the digital age that provides a source of entertainment literally in your pocket, movie held a position of something special, away from the family television. We learned to understand that it is fine that a movie only offers a good time. This movie succeeds in just that. Apparently at this point the film is available through video on demand services including Amazon Prime and Vudu or from Canada which is still in Region 1.