Thomas Augsberger

Thomas Augsberger

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Mr. Brooks Review


Weak
Don't feel bad if, during the opening salvos of Mr. Brooks, you question whether you've sat down at the midpoint of the film.

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.

Continue reading: Mr. Brooks Review

Till Human Voices Wake Us Review


Grim
I feel sorry for Till Human Voices Wake Us, the new supernatural romance starring Guy Pearce and Helena Bonham Carter. Not because it's a good movie that won't get the respect it deserves - it is, in fact, a quite slow and heavy-handed film - but because it has the bad luck to open only one week before David Cronenberg's masterpiece Spider, a far better film that shares many of the same themes and devices. If timing is everything, Till Human Voices Wake Us has very little going for it.

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

Thomas Augsberger

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