Based on "Gemini's" trailer, I was hoping to see "Mistress America's" Lola Kirke in a leading role, neon-drenched visuals, and a moody electronic soundtrack. The movie delivers, but what I was not expecting is how pleasantly slight "Gemini" proves - there's not all that much at stake in this post-modern, noir-ish comedy that takes its cues from "Brick" and "Scream," with some dazzling nighttime L.A. photography.
Beautiful photography, great music, solid performances, but... doesn't add up to much. Not that movies have to have a "point" but if you're gonna be pointless, why tell us you're taking us somewhere? I can't articulate how I feel, which feels fitting. I enjoyed watching but just a few hours later it's like it's been 100% erased from my mind, save the kickass motorcycle down a winding road in the night shot.
This story deserved more. The performings were brilliant, as were the color scheme, the locations, and the ambiance. The revelation was powerful for its warning. However, this deserved much more depth.
Enthralling and well-acted tribute to classic LA-set Film Noir. I love the disguise she picks up in Koreatown, it kinda reminded me of Chungking Express. You can tell Katz loves LA. Especially old-time Hollywood, K-Town, and the view of downtown. That long take of the bike and the cop car pulling around the bend with downtown in the background was immensely satisfying.
And John Cho got an "AND" credit. Big time!
A shallow LA neo-noir that thinks that just because it knows what it’s doing it can get away with being dull. Aaron Katz is a good filmmaker, but an exercise in artifice is more than upside down shots of palm trees and painfully gimmicky dialogue. This is some straight nonsense under the guise of something full and intelligent.