Director Bruce Evans structures his serial-killer thriller like a John Sandford or James Patterson page-turner, the kind that made household names of fictitious crime-solvers Alex Cross and Lucas Davenport. Evans intentionally paces his movie like the middle act of a longer story, which is a bold move until we realize Brooks raises more questions than the director and his co-writer, Raynold Gideon, can answer.
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Michael Petroni, the film's writer/first-time director, wrote the screenplay for Till Human Voices Wake Us while still attending LA's American Film Institute and, according to my press notes, won a couple of awards for this story, which concerns an Australian psychologist forced to confront his past demons after meeting a mysterious young woman while at his family's summer house to bury his father. Like Cronenberg's infinitely superior examination of the mind's destructive capacity for denial, the film exists on two planes: the present, which finds Dr. Sam Frank (Pearce) trying to figure out who Ruby (Carter) is and why she's in the small Aussie town of Genoa; and the past, in which we learn about Sam's childhood summer romance with a young beauty named Sylvia.
Continue reading: Till Human Voices Wake Us Review