Neal Edelstein

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Shelter Review


OK
With slick and snaky production values, directors Mans Marlind and Bjorn Stein create a gleefully bonkers thriller. As a result, there are moments of real terror even as the story gets increasingly ridiculous.

Pittsburgh psychiatrist Caroline (Moore) doesn't believe multiple-personality disorder actually exists, even as her psychiatrist father (DeMunn) continually challenges her. His latest test is David (Rhys Meyers), whose alter-egos manifest with an unexplained physicality. As she looks into the case, Caroline's scepticism is shaken by hints that something demonic might be going on here, especially when an agitated woman (Conroy) tells her a scary story about "Satan-worshipping mountain witches". Soon Caroline's brother (Corddry) and daughter (Proulx) are caught up in the mystery as well.

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The Invisible Review


OK
The trailers for The Invisible ask, "How do you solve a murder when the victim is you?" This indeed poses several mysteries, but not the ones the trailer-makers have in mind. First, there's the question of whether the question is grammatically correct (the answer: maybe, but it sure sounds awkward). Then there's the mystery not of how to solve said murder, but where exactly the difficulty lies when you is -- er, are that murder victim. High-school senior Nick Powell, this film's victim, pretty much "solves" his murder while he's being killed (or near-killed); he recognizes and even converses with his assailants. Case closed.

Except that he's dead, of course, but assuming, as The Invisible does, the existence of a rather flexible netherworld between living and death, filling in further details isn't a problem either. When Nick wakes up as a sort of half-ghost, traveling through the land of the living without the ability to be seen or heard while his body lies on the brink of death, his detective skills need only to consist of following the murderers around, overhearing their motivations.

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The Straight Story Review


Grim
With opening shots of a setting sun and a quaint small town, followed by a sequence involving a man being injured, very slow dialogue, and a woman being unbelievably stupid, and an Angelo Badalmenti rustic score on in the background, one would think that we were in the David Lynch world that we are used to... that this time we would get a cross between "Twin Peaks" and Blue Velvet. But, because we have seen the Disney logo in front of this film, we know that we're in store for something a little more watered down. We know that this film will raise no controversy, will anger no feminists, and that is highly doubtful that David Lynch will have an affair with Sissy Spacek (the fact that he would have to get remarried to his wife in order to do that notwithstanding).

We are not in Lynch's world, and, despite several pieces of stylistic evidence to the contrary, there is no way we're going to enter Lynch's world in The Straight Story.

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Lumiere And Company Review


OK
A documentary-ish experiment: Give 40 movie directors the world's first movie camera (the Lumiere cinematograph, 1895) and 52 seconds in which to shoot their own mini-film. Some of the directors go all out (David Lynch and some French people I've never heard of)... and some are pathetic, self-ego-massaging wastes of time (particularly Spike Lee, who uses his 52 seconds trying to get his baby to say "Dada"). Also curious is how many directors made movies about making movies (methinks that's all they know any more). But how often can you see 40 films, the making-of story, and an interview with the director, all in an hour and a half? Once in a lifetime is just about enough.

Mulholland Drive Review


OK
[In the spirit of competition, we present a rare filmcritic.com double review on David Lynch's sure-to-be-controversial Mulholland Drive as well as a feature discussion about the film. For additional, alternate looks at films, check out our feature "Respectfully, Yours." -Ed.]

Christopher Null, not overly impressed

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