Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. Against company policy, she takes one home as a gift for her teenage son and names it after him but soon starts fearing it.
Max and Leo are 8 and 5 years old and have just immigrated to the US with their mother. Their days pass inside a tiny apartment, while they wait for their mother to come back, as they hold ... See full summary »
Martha Reyes Arias,
Maximiliano Nájar Márquez,
Leonardo Nájar Márquez
An off duty police begins to suspect a local man for having had an affair with his recently dead wife. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones.
After 20 years of marriage, Maria decides to leave. She moves to the room 212 of the hotel opposite her marital home. From there, Maria can scrutinize her apartment, her husband, her wedding. She wonders if she has made the right decision.
Alejandro and Ana take their family on vacation to a remote island in southern Chile. The tranquility of the trip is disturbed when Nicolás, the local that ferried them across the water, disappears leaving the family trapped.
Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. She has engineered a very special crimson flower, remarkable not only for its beauty but also for its therapeutic value: if kept at the ideal temperature, fed properly and spoken to regularly, this plant makes its owner happy. Against company policy, Alice takes one home as a gift for her teenage son, Joe. They christen it 'Little Joe' but as it grows, so too does Alice's suspicion that her new creations may not be as harmless as their nickname suggests.
Flawed in every department, typical critic love fest
So it's a modern day take on an old sci-fi classic, with a slight twist, fine we understand that quick enough. However, it fails in direction completely, cold acting with warm and pastal colours is just a cliche.
The lead actor centre stage and holding the shot whilst (kabuki) music plays (clearly thinks it has something to do with ikebana) gives an ominous feel, REALLY. You care nothing for the characters, why should you, that's the premise of the film. As for the soundtrack, well it is very annoying, a drum here, an asthmatic whistle there, a tin can, what sounds like a box of chihuahua's, just annoys the viewer. The style, it tries but falls flat, the plant is shown in vivid pink, alluding to the passion it feels, the lead actor originally wears bold colours but then the pastoral colours come in later, why they have to wear 70's clothing to allow this when the rest of the film is clearly in the here and now god knows.
A typical critics film from a director who believes their own hype finding what they need to find in films as their own lives are one dimensional and so far from a real film goer.
Don't even start on the dialogue. A ten minute short would give you a better experience.
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