Melissa Sagemiller

These movies have an established pattern, and Guardian follows it to the letter. To borrow a phrase from Ron L. Brinkerhoff's soggy screenplay, Guardian swims with the current as it tics off predictable accomplishments en route to a by-the-book conclusion. At times, it's laudable. At times, it's laughable. But nothing prepared me for the sheer atrocity that occurs in the film's final frames.

Continue reading: The Guardian Review

These movies have an established pattern, and Guardian follows it to the letter. To borrow a phrase from Ron L. Brinkerhoff's soggy screenplay, Guardian swims with the current as it tics off predictable accomplishments en route to a by-the-book conclusion. At times, it's laudable. At times, it's laughable. But nothing prepared me for the sheer atrocity that occurs in the film's final frames.

Continue reading: The Guardian Review

One simple thing a filmmaker can do to make a picture better is to clearly establish time and place. You'd think that such a thing would be a given, but it's surprising how many filmmakers disregard this simple concept.

For the new film "The Clearing," writer Justin Haythe and writer/director Pieter Jan Brugge (a producer on "Bulworth," The Insider" and other films, making his directorial debut) probably intended to play with time, to bend it and stretch it to serve their purposes. But in the end, they only serve to alienate us by deliberately confusing us.

The film begins like a standard-issue kidnapping story, similar to 2000's "Proof of Life" and a dozen others. The filmmakers cut back and forth between the kidnap victim and his fretting wife, trying to build an equal amount of suspense within each storyline.

Continue reading: THE CLEARING Review