movie review

Movie Review: NOTORIOUS, 1946. Directed by Alfred Hitchcock

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

NOTORIOUS MOVIE POSTER
NOTORIOUS, 1946
Horror/Thriller Movie Review

Directed by Alfred Hitchcock
Starring Cary Grant, Ingrid Bergman, Claude Rains
Review by Tom Coatsworth

SYNOPSIS:

Miami, Florida; 1946. Alicia Huberman’s father is imprisoned as a Nazi spy. She drowns her sorrows with good times. But when Devlin, an American agent, woos her to work for Uncle Sam her better self answers the call. They fly to Rio De Janeiro where she infiltrates a group of Nazi Industrialists led by her former boyfriend, Sebastian. Torn between love for Devlin and duty to the job — she marries Sebastian, going deep undercover to discover their secrets. But soon she’s found out and is slowly poisoned. Devlin must see passed his jealousy and bitterness before he can save her.

REVIEW:

“Notorious woman of affairs… adventurous man of the world!” — the original tagline. But with Cary Grant, Ingrid Bergman and Claude Rains who needs taglines? There may be greater movie stars and there may be finer actors but there are no finer actors who happen to be movie stars. Put these three in a film, let Hitchcock direct, and you have the cinematic equivalent of a royal flush — you simply cannot lose. And indeed ‘Notorious’ is a classic for the ages. It didn’t always seem so — the critics were tepid in their initial response. I suspect the story, which veers toward the tall end of the tall-tale camp, is responsible.

Alicia Huberman (Bergman) is the lady in question. Her father has been imprisoned as a German spy. She is determined to wipe the bitterness clean with gin and good times until T.R. Devlin(Grant) crashes her party and offers her a chance to work for the good guys. Devlin and company have had her under surveillance. They know that beneath the brash smirk lurks the heart of a patriot. And so with some reluctance she accepts the job and they fly to Rio where she infiltrates the Farben Group.

— a band of Nazi industrialists who are cooking up the Fourth Reich. But wait — not until she and Devlin have had a chance to fall in love.

Then the job comes as a thunderbolt. She must “land” a former boyfriend, Alex Sebastian (Rains), who is the head of the Farben Group, and find out what they’re up to. In a cruel dilemma she must play ‘Mata Hari’ and bed down and marry him in order to conduct her ‘undercover’ work. Her affair with Devlin is finished — however their love will not die and it simmers on beneath the surface and this is the true beating heart of the film.

On the surface Alicia is living a dream in a mansion surrounded by riches. Inside her spirit dies a slow weary death. For Devlin it is all business and he has no sympathy. In fact he’s blind with jealousy. It is the life she chose, he tells her. Back to business — Sebastian throws a party to introduce his wife to Rio society. Devlin manages an invite. There he and Alicia gain access to the wine cellar where they discover uranium ore in a wine bottle. When Sebastian stumbles on them they fake an embrace to cover their spying. Sebastian is coldly furious until he discovers he’s married to an American Agent. Then he would gladly kill her except that it would alert his colleagues to his bungling. And so with the aid of his Mother he slowly poisons Alicia — with coffee, kindness and arsenic.

Alicia discovers the trap but she is too weak to get away. She collapses and is confined to a bedroom. Cut off from the world and surrounded by enemies she faces certain death unless Devlin can see passed his bitterness and come to her rescue.

Filmed in sumptuous black and white by Ted Tetzlaff, ( Edith Head designed Bergman’s gowns) these stars have never shone brighter. The chemistry between Grant and Bergman is electric, legendary. The moral of the story hasn’t aged as well: that a party girl must be poisoned just shy of extinction before she can earn the love of a gentleman. But Alicia is more than that — she is the German people, wayward at times but good as gold underneath. And this was America in 1946 — a country with a huge German demographic in a hurry to forgive. Likewise we must forgive a rather gimmicky plot and recognize it’s function: it is a torture chamber for the human heart and it works quite wonderfully. Watch for Hitchcock at the bar downing a glass of champagne.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

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Movie Review: THE PROGRAM (UK/France 2015)

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

the_programTHE PROGRAM (UK/France 2015)**
Directed by Stephen Frears

Starrting: Ben Foster, Chris O’Dowd, Guillaume Canet, Jesse Plemons, Lee Pace, Dustin Hoffman

Review by Gilbert Seah

Lance Armstrong is infamous the world over. The recent documentary on his disgrace THE ARMSTRONG LIE had informed the world of his demise, and now the fictionalized version is ready to do more of the same. Lance Armstrong (played by Ben Foster) is an American cyclist who won the Tour De France 7 years running. He entertained controversy of his taking performance enhancing drugs (particularly EPO in short). He denied it totally and the world believed him. But after his comeback after a 4-year break, a fellow team member, Floyd Landis (Jesse Plemons) confessed to his and Armstrong’s taking of EPO. The Tour De France stripped Armstrong of all 7 wins.

THE PROGRAM is understandably a French/British co-production as Armstrong obviously not only disgraced himself but the county he represented. THE ARMSTRONG LIE was made and shelved when the disgrace hit the news 3 years later, but released after Armstrong appeared on Oprah.

THE PROGRAM of the title refers to the drug program enforced by the French Doctor, Michele Ferrari (Guillaume Canet), who was eventually banned from practice after word came out of his abuse. When Armstrong realized other cyclists may be using performance enhancing drugs, he begged the doctor to put him on the program at all costs.

It is surprising that Frears and the script by Jon Hodge sees so little time on the Irish reporter, David Walsh (Chris O’Dowd) who uncovered the truth of the story. The film based on Walsh’s book “Seven Deadly Sins’ spends minimum time, showing the reporter’s work and quiet after Armstrong put him to shame. But when he was eventually proven correct, his triumph is just dismissed with the fact that the Sunday Times got their money they initially paid as damages to Armstrong back. Dustin Hoffman, credited in the film also has a one-line scene.

Armstrong is an extremely dislikable man. He shows no humility, is proud and obsessive and full of himself. A film that centres on a lead character with such a personality is obviously going to run into problems. Audiences disliking the lead will most likely dislike the film as a result. Director Frears who has in his carer made some excellent films (PHILOMENA, THE QUEEN) seems at a loss with the character of Armstrong. In his previous films that dealt with unsavoury characters like the pregnant teenage daughter in THE SNAPPER and homosexuality in MY BEAUTIFUL LAUNDRETTE, Frears used humour and satire to make his movie work. But in THE PROGRAM, Frears uses none of these tactics. He tells the story of the ARMSTRONG LIE in a straight forward story-telling convention. Using standard formulaic biopics story-telling, he charts the rise to fame, and slow downfall of the cyclist, highlighting his winning moments to lift the spirit of the story.

There is absolutely no need to watch another version of a disgraced human human being. Armstrong describes himself as a champion. But in reality he is one who has disgraced the sport and a spineless worm with no conscience. The documentary THE ARMSTRONG LIE has already told the same story and extremely well by Alex Gibney (ENRON, TAXI TO THE DARK SIDE), with the real Armstrong as himself using actual footage of himself at the race without any re-enactments. At least Frears shows him, as the worst person that can be, still trying to convince the world of his ability.

The end credits predictably showing each of the featured characters in real life from Armstrong, to the doctor that enforced the drug program re-enforce the fact that Frears seem to be gnu through the motion with this one.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month: http://www.wildsoundfestival.com

Movie Reviews of the TOP OSCAR Nominated Films

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Read movie reviews of the top films of 2015, that also happen to have received Oscar Nominations. 

Movie Review: CAROL (USA 2015) Top 10 *****

https://festivalreviews.org/2015/12/27/movie-review-carol-usa-2015-top-10/

Movie Review: ANOMALISA (USA 2015) ***** TOP 10

https://festivalreviews.org/2015/12/27/movie-review-anomalisa-usa-2015/

Movie Review: SON OF SAUL (2015, Hungary)

https://festivalreviews.org/2015/12/20/movie-review-son-of-saul-2015-hungary/

Movie Review: CREED (2015)

https://festivalreviews.org/2015/12/19/movie-review-creed-2015/

Movie Review: JOY (2015)

https://festivalreviews.org/2015/12/15/movie-review-joy-2015/

Movie Review: THE REVENANT (2015) ***** TOP 10

https://festivalreviews.org/2015/12/22/movie-review-the-revenant-2015/

Movie Review: THE BIG SHORT (US 2015) *****

https://festivalreviews.org/2015/12/25/movie-review-the-big-short-us-2015/

Movie Review: GODS OF EGYPT (USA 2016) **

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

gods_of_egypt_poster.jpgGODS OF EGYPT (USA 2016) **
Directed by Alex Proyas

Starring: Gerard Butler, Nikolaj Coster-Waldau, Geoffrey Rush, Brenton Thwaites, Courtney Eaton, Chadwick Boseman, Elodie Yung

Review by Gilbert Seah

The Lionsgate blockbuster GODS OF EGPYT has been plagued by many problems the most notable of it being a totally white cast for its lead characters. But this is the least of the film’s troubles. Made by Lionsgate, the HUNGER GAMES company that desperately needs a big hit after their stock plummeted 30% in one day after the earnings announcement, this $140 million production is only expected to gross, by industry estimates only $15 million on its opening weekend. To Lionsgate credit, it claims that it only footed $10 million of the budget, the rest covered by pre-sales and tax credits. The Australian Government apparently paid half the production costs.

The director Alex Proyas (I, ROBOT, THE CROW) claims that the world of Gods of Egypt never really existed. It is inspired by Egyptian mythology, and therefore it would make no sense to attempt any historical accuracy because that would be pointless — none of the events in the movie ever really happened. So, it does not really matter that the film was never shot in Egypt but down-under.

The story of Gods and man is set in Egypt. At the film’s start, the audience is given the heads-up by voice-over of the film’s setting. Apparently God and man are co-existing side-by-side. The film distinguishes one from the other by the size. Gods are figures that appear much taller (or larger) than humans. The film opens with a common human thief, Bek (Brenton Thwaites) stealing an amulet to offer it as a gift to his everlasting love. They attend the coronation of the crowning of the new King, Horus (Nikolaj Coster-Waldau), whose throne is stolen by Uncle Set (Gerard Butler with all the growling he can muster!) After that, it is the quest of reclaiming the throne.

Since when do Gods die or fight for a throne? And where does the idea of so many Gods living together ever come from? The main premise is as ridiculous as it looks and it does look even sillier in a big budgeted film. One best example is the scene of the coronation with the screen filled with thousands of spectators as far the the screen can hold. How then can they hear what is going on on the stage when the microphone was not invented then. The scene reminds one of MONTY PYTHON’S LFE OF BRIAN where the Monty Python group complain about being unable to hear what Jesus was preaching during the sermon on the Mount.

The film running more than 2 hours is CGI gone mad. The special effects, 3D and CGI are costly and look good on the screen. But the script meanders more than the Nile giving the impression that the writers are making things up as they go along. For a multi-million dollar epic, the one-liners could at least being funnier. “Run…”, “Run Faster”… are the best the film has to offer. The climatic fight is good enough, performed at the top of a pyramid, but the entire adventure turns out to be a totally boring affair.

Never has so much money been devoted to the realm of boredom.

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Movie Review: EDDIE THE EAGLE (UK/USA/Germany 2016) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

eddie_the_eagle_poster.jpgEDDIE THE EAGLE (UK/USA/Germany 2016) ***
Directed by Dexter Fletcher

Starring: Taron Egerton, Hugh Jackman, Tom Costello Jr.

Review by Gilbert Seah

EDDIE THE EAGLE is the typical type of British export crowd pleaser that have charmed North American audiences. Similar films like KINKY BOOTS, THE FULL MONTY, BEND IN LIKE BECKHAM, BRASSED OFF and THE BEST EXOTIC MARIGOLD HOTEL have all done well at the box-office. So, why not a film about the feel-good story of Michael (Eddie) Edwards (played by Taron Egerton) appropriately called EDDIE THE EAGLE?

Eddie is a tenacious British ski jumper who believes he is good enough to enter the Olympics. He has never stopped believing in himself, much to the consternation of his dad, a plasterer who wants his son to follow his own footsteps. Even the British Olympic Selection Committee wants him out. With the help of a rebellious and charismatic coach (played with equal tenacity by Hugh Jackman), Eddie takes on the establishment and wins the hearts of sports fans around the world by making an improbable and historic showing at the 1988 Calgary Winter Olympics. Based on true events – as the titles at the films start tells the audience.

Top marks for effort go to Hugh Jackman who plays disgraced skier Bronson Peary who eventually becomes Eddie’s coach. It must be tough for this talent to go through all the ropes. It is tough enough to pretend to play someone who cares, but to evoke all the fake emotions, do the silly dance training steps and act and cry as if it all matters, Jackman does the job. (He must have been paid a lot.) As for Egerton who plays the lead role, he looks and acts too much like Bubbles of the Trailer Park Boys. But to be fair, the real Edwards, shown at the end credits does look like Bubbles. The film contains a few neat cameos from the likes of Christopher Walken and Jim Broadbent.

To the film’s credit, the film set in the 80’s with the Calgary Olympic 1988 setting does have an authentic 80’s atmosphere aided by the film’s 80’s songs soundtrack. The choice of Van Halen’s song “Jump’ used is a bit too obvious.

Director Fletcher (whose credit in film lies in the acting department from various minor roles in films and television) has created a film that is 100% formulaic is 0% originality. Whether the film succeeds depends entirely of which school of audience one comes from. The general public would have no problem cheering whenever Eddie makes a jump or laughing whenever he falls as observed in the promo screening attended. The other school would only grimace and wish the real ‘Eddie’ with all the human faults be revealed in a feel-bad story.

For the general public, this is the kind for feel good movie many would have no problem paying good money for. Fletcher pushes all the right buttons – in fact too many right buttons so that nothing out of the ordinary can be expected. For this group of people, the movie would be rated 4 stars. For the other film cynical critics, filmmakers and art-house cineastes, this 1-star movie is a complete bore and a waste of time.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Short Film Movie Review: THE FAUCET (4min, USA, Comedy)

festreviews 2016 movies, Amanda Lomonaco, audience feedback festival, comedy festival, film festival, film festival reviews, Movie Review, Short Film Movie Review, shorts showcase, Uncategorized , , , , , , ,

THE FAUCET played to rave reviews at the WILDsound FEEDBACK Film Festival in January 2016.

MOVIE POSTER

THE FAUCET, 4min, USA, Comedy

Directed by Samip Raval & Danny Klimetz

Movie Review by Amanda Lomonaco:

How many times have we tried to wash our hands on touch-less faucets, or tried to dry them on automatic driers, only to look like idiots as we stupidly wave our hands in front of an unresponsive sensor? We put a man on the moon, but we still can’t invent dependable motion sensors somehow. Yet thankfully these situations lead to hilarious plotlines, such as that in Samit Raval and Danny Klimetz’ film The Faucet.

The only minor critique I would have for this short is that, for such a predictable outcome, the film lasts a little longer than you would normally expect. Regardless, Raval and Klimetz still manage to somehow extend the element of comedy by using a few clever curveballs throughout the film. These unexpected mini-twists almost turn the technology itself into a character that is simply out to get our poor, hygiene-conscious, protagonist.

If you enjoy being frustrated, or you have some sort of a gripe with new technology, then you will very likely enjoy The Faucet. I do not all into any of these categories myself, but I was certainly able to appreciate the humour in this film. After all, lets face it, who doesn’t enjoy a good comedy? Particularly one that so many of us can relate to.

Watch the Audience FEEDBACK Video of the short film

Short Film Movie Review: LIKE IN THE MOVIES (5min, Italy, Documentary)

festreviews Amanda Lomonaco, audience feedback festival, Documentary, film festival, film festival reviews, Movie Review, Short Film Movie Review, shorts showcase, Uncategorized , , , , , ,

LIKE IN THE MOVIES played to rave reviews at the WILDsound FEEDBACK Film Festival in January 2016.

MOVIE POSTER

LIKE IN THE MOVIES, 5min, Italy, Documentary

Directed by Francesco Faralli

Following his cinephile passion, Daniele Bonarini (from the Association “Il Cenacolo Francescano”), realizes digital feature films shot with the enthusiastic support of friends and volunteers using disabled persons as actors.

Movie Review by Amanda Lomonaco:

This is the second of Francesco Faralli’s films that I’ve seen, and the second with Tiziano Barbini’s participation, and I can’t help but smile every time. There is something truly wonderful in the work that Faralli does by making films with the disabled. He creates true masterpieces, and, in pretending, provides us with a deep look into who these people really are.

There is a split second where you’re watching Faralli’s films where I noticed myself laughing at a disabled person, a concept that I had always imagined appauling. Nevertheless, it’s impossible to not laugh while watching Faralli’s work. Him and his actors create wonderfully heartwarming stories that demonstrate just what the disabled are truly capable of, and I can truly say it’s a hell of a lot more than I can do.

Tiziano Barbini is one Faralli’s most popular leading men, and together the pair have won several awards in film festivals world wide. Tiziano, at least in Faralli’s films, is a very positive, loving, and emotional person, who seems to experience every detail of the world with the intensity most of us reserve for more extreme achievements. He truly exemplifies the concept of living life to the fullest, and appreciating every moment, smiling at the smallest of details, and pointing out beauty everywhere he goes.

Perhaps it’s just because I’m a sentimental ball of mush, but I could watch Faralli’s films a million times and never get bored of them. Tiziano stole my heart in the very first of his documentaries that I watched, and without ever even meeting him, I know he’ll always be able to bring a smile to my face. I don’t know if everyone would enjoy this film as much as I did. The audience at Wild Sound certainly seemed to give it a very positive reception. In any case I urge you to look in to some of Faralli’s work. What he is doing both for the independent film industry and for the disabled community in Italy is amazing, and it deserves more attention from all of us.

Watch the Audience FEEDBACK Video of the short film

Short Film Movie Review: LOVE AT FIRST LIGHT (1min, Ireland, Comedy)

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LOVE AT FIRST LIGHT played to rave reviews at the WILDsound FEEDBACK Film Festival in January 2016.

MOVIE POSTER

LOVE AT FIRST LIGHT, 1min, Ireland, Comedy

Directed by Caroline Grace-Cassidy

A mixup occurs the morning after a one night stand.

Movie Review by Amanda Lomonaco:

More of a punch-line than a short film, Love At First Light is one of the better short comedies I’ve seen in a while. Trust the Irish to keep things simple, and to the point, even in the most awkward and racy situations.

It’s hard to talk about a 1 minute film without revealing most of its plot line, but I’m sure many of us have been there. If not we know more than enough stories from our friends who have been there. That one night stand that got away, that we could never stop thinking about. Thankfully none of the characters in this film will ever have to struggle with these doubts.

This is actually a great short film to watch on Valentine’s day, whether you’re single or in a relationship. All of us can appreciate the silly transience of our emotions, particularly when they come with they relate to the strong, passionate sentiments of love. We’ve all had that partner, or crush, that we think we could never live without, until we do and we’re ok. We’ve all had that moment where we’ve had just a little too much to drink and all of a sudden we become the most deeply feeling and loving human beings on the planet.

…No? Just me then? In any case, Caroline Grace-Cassidy’s film is incredibly relateable, hilarious, and clever. Grace-Cassidy manages to pack quite a powerful mix of emotions and comedy, within an incredibly short film, showcasing a very strong talent for story-telling. Lovers of stand-up will love this short film that could easily be a segway into one of Seinfeld’s shows. Whether your significant other is a box of chocolates, a furry companion, or a two legged semi-hairless being, give this film a watch with them. You’re likely to have a good laugh regardless of your situation.

Watch the Audience FEEDBACK Video of the short film

Short Film Movie Review: OH MY OH AGAMI (4min, Egypt, Documentary/Poetry)

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OH MY OH AGAMI played to rave reviews  at the WILDsound FEEDBACK Film Festival in January 2016. 

OH MY OH AGAMI, 4min, Egypt, Documentary/Poetry
Directed by Hani R. Eskander

A visual poem depicting a life of an Agami resident who reminisces his childhood amidst the ongoing destruction and illegal construction.

Movie Review by Amanda Lomonaco:

I’m often skeptical of poetic cinema, in the same way that I’m often skeptical of overly “artsy” cinema. Although I have found many that I have enjoyed and appreciated, I’m all too aware that these films can often go one of two ways. Oh My Oh Agami is definitely one of the winners.

Despite not being able to understand what was being said in the film without the assistance of the subtitles, I could certainly appreciate the lovely intonations and rhyming sounds I was able to pick up. One of the great advantages of poetic cinema is that it opens up the meanings and rythmns of poetry in different languages, in a way that the written form cannot. It opens access to a whole world of literature that would otherwise be completely locked to those who do not speak the language.

What’s more Oh My Oh Agami opens up a world and concept that are almost completely foreign to North Americans, and others in the developed world. To most of us, the concept of illegal building seems almost impossible. How could anyone ever build an entire building without the city or government legally allowing them to do it? It’s difficult for us to grasp how some countries and governments can have so few resources that they are not able to enforce the law in any way, or where they are so easily bribed for want of accountability.

Hani R Eskander’s film immerses us in Egyptian culture through everything from its imagery, to its phonetic beauty, to its harsh realities. He both satiates and entices our wanderlust by bringing us into his world, and teaching us more about his day to day life. Through his poetic words and imagery, Eskander captures the true meaning of the concept of “show don’t tell,” playing into his audience’s curiosity.

Oh My Oh Agami is truly a beautiful film, and a powerful statement against illegal building in Egypt. If nothing else it’s worth a watch purely for the eye-opening experience it provides. This film is for the philanthropist, the traveller, and the environmentalist in all of us. It is a truly gorgeously made short film that deserves our attention, even if only for four short minutes.

Watch the AUDIENCE FEEDBACK Festival of the Short Film:

Short Film Movie Review: YO SOY PEDRO (10min, France, Sci-Fi/Comedy)

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YO SOY PEDRO was the winner of Best Musical Score at the WILDsound FEEDBACK Film Festival in January 2016. 

MOVIE POSTERYO SOY PEDRO, 10min, France, Sci-Fi/Comedy
Directed by Jordan Inconstant

1977. Mackenzie and Banks are two Americans cops who encounter an alien that has just crashed. The police take him for a film actor and decide to bring it back to Hollywood studios. 

Movie Review by Amanda Lomonaco:

Yo Soy Pedro is one of the most unique films I have seen in a while, and it took me a little discussion with other audience members in order to truly appreciate it in all its glory. I guess that just serves as all the more proof of how misunderstood the science fiction genre can be. Nevertheless once I got a better handle on it, I realized how great of an example this film was that science fiction doesn’t need complex story-lines or super expensive production values to create quality entertainment.

Jordan Inconstant’s short film could not embody the director’s own name more. A Hollywood based film, spoken almost entirely in French, with extremely obvious, not-so-special effects Yo Soy Pedro manages to embrace two different genres while still making a political statement. Tired of watching numerous films based in different countries where everyone speaks English, Inconstant decided to create one in the United States, where everyone speaks French. Moreover, he adds to his critique of Holywood cinema by very poorly dubbing the only supposedly Spanish speaking actor in the film. In fact, despite my fluency with the language I could barely tell it was even Spanish that he was speaking – thank goodness for subtitles.

It’s impossible not to appreciate the cleverness of Inconstant’s creation, through everything from his plotline, to his production values, to his intricate use of language. Inconstant proves that he is able to laugh at himself, and at the film industry as a whole, while still embracing it with all its flaws. He not only seizes at Hollywood’s cheesiest cliches, he subverts them so cleverly that you could watch his film repeatedly and discover a new facet each time.

I’m not sure I’d go so far as to declare this film is for everyone, but it certainly has a strong appeal to a well-informed cinemaphile. In fact, for fans of Tim Burton, I have to admit some aspects of this film reminded me quite a bit of Ed Wood.Anyone who’s seen Burton’s infamous flop will quickly understand why Yo Soy Pedro might incite equally mixed reactions. If you’re a fan of clever, self-reflexive Hollywood comedy, give Inconstant’s film a shot. If he doesn’t have you on the floor laughing, he’ll at the very least be able to force our an involuntary smile from you.

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