Doublement consacrée et fort justement par le Prix Spécial du Jury ainsi que le Prix de la Critique au festival de Deauville 2005, cette oeuvre étouffante et dense s’éclaire par la toujours solide prestation de Damian Lewis, en osmose parfaite avec son étonnant personnage douloureusement "borderline"... www.cinefiches.com
Besides "the pattern element" in the end which can be accepted as a possibility but it was more of a downside, the rest was impressive in the very way it was presented. The true depressive, neurotic and psychotic were telling the story, not just the face and words of D. Lewis. I believed him and the exhausting and meaningless loop which he can now call his life. The jukebox scene was very sad.
A cinematographic point of view: Something exhilarating is found in the lack of 'reverses' - each dialogue is a fluid camera bouncing from subject to subject, keeping us all timed up with the moment. A magnet keeps us all connected to William, in a vortex of subtle yet perfectly rhythmic choreography.
That film was very upsetting but only because it was such an emotionally involving (and draining) film to watch. It is a very candid portrait of the mind after a tragic loss. I highly recommend investing your time in this terse story of agony. It's riches really are in the frustration you will share with Damian Lewis.
I was sucked into a story of just one unsympa main character trying to find solid ground. Delusion or trauma, that is the question constantly nagging the viewer. Moving cam and an overall great editing job. Characters remain a little flat as opposed to their mysterious drive.
Gritty, deep, focused - Kerrigan has got Keane so right. It's simple, and the characters and story are prioritized above all else. This is pure, emotional, hard-hitting work because you are lost in the city, in trouble, under harrowing circumstances, with Keane. Rather than just beholding, the audience is immersed in this narrative.
A promising first 30 minutes of claustrophobic paranoia is let down by a fairly mundane conclusion. It's not a ground breaking film on any level, but Damian Lewis is good as the broken father in the lead. His decline in the urban decay reminiscent of Midnight Cowboy and Taxi Driver is impressively bleak, beyond that there's not too much to get excited about. I'd give it 2.5 if I could.
Unbearable, confusing, confused tosh. Place a camera 20 inches from the face of a paranoid act. Let it overheat for far too long without minimally developing any meaningful plot. Fake you know where you are heading. Bring in a misplaced undercooked attempt of romance as your lead cannot go bonkers forever. Run out of ideas before wrapping it all up with a loose end. Bliss at last came when all those credits rolled up
A captivating, intimate portrait of a father, emotionally and mentally crumbling over the inexplicable disappearance of his daughter. After developing a relationship with a woman and her daughter - seemingly similar to his own - we see the struggle between piecing together a miserable past or pursuing an uncertain, yet comforting, future.