domonkosbob5
Here's another one of these Netflix bombs that has a slew of decent reviews so I find myself going back 3 times to try to find out what I'm missing-- but the bad acting causes a Pavlovian stab at the back button in less than five minutes every time. Scooter girl's attempt at being coyly sexual is so tedious I find myself rolling my hand in a circular motion trying to speed up the scene. The clichéd jump cuts in the beginning do little more than induce seasickness, and the long, long exposition of the girl's walking legs--ho long are they going to beat that poor dead nag? But the colossal sacrilege is the waste of the cast--Peter Dinkledge, Walken? That's a travesty. Give me a cast like this please! To see what I did with the far less heralded just google And Now For The Tricky Part.
edfostera
This film is very special. Hinged to a single moment in time, it cleverly layers a variety of crimes and violent acts that Americans are growing numb to, then turns them on their head with a dose of innocent wisdom delivered by a most unlikely messenger. Turn on a news show in America and you're sure to get stories like these... Misunderstood teens and gang bangers using guns with no remorse. Elected officials debating torture laws. The motives of terrorists. There are times you'll even get a report concerning the homeless. "The Power of Few" presents an anthology of 5 short stories, that the viewer slowly discovers are taking place at the exact same time, all within a close radius in New Orleans. This film is honest about a new American culture. It's characters are raw and true and the film sugar coats nothing. The dialogue is at times absurd, but all you need to do is spend 5 minutes with a homeless man or a loving couple to find out how absurd a real conversation can really get. It uses some conventions made famous by films like Run Lola Run, Pulp Fiction, Magnolia and other non-linear/multi-perspective films. But what separates this film from all it's predecessors is that it is essentially a morality play. It's one of those films you will either love or hate, but can't deny it's truth. From all the reviews I've read, it doesn't seem like there's a clear consensus among it's viewers. When you mix so many different character types and remain true to them, you are going to get an odd mix of tone. And that may be the films only flaw, is that in staying true to each character's essence, the film seems to shift tone in an abrupt way. But that is why this is an original film and not a copy of anything I've ever viewed. If the director kept the tone consistent throughout, it might be a more steady film, but it would not be truth. Kudos to everyone involved in this gem.
intelearts
TPOF is an attempt in its cinematography, editing, sound, characterization and overall direction to be different - and it partially succeeds - you come away remembering the images and characterizations - the real problem though is the script has words but lacks the same rhythm the same bebop sensibilities, and so jars constantly with the multi-layered multifaceted story lines as they interweave.For this reviewer the Macguffin of what has being stolen should have been a kicking off point for lots of great banter or ideas and instead seems to just be wasted; in addition, both Christian Slater and Christoffer Walken are given their parts and then woefully under directed.All in all, this is sub-Tarantino, with some interesting ideas about multistory lines and some film school ideas on use of angles, grading of film etc; that are designed to make it look sloppy and cheap - which are the positives - the negatives are a script that needed editing for its sound - it's just too prosaic for this piece - and performances that though OK could have been workshopped more: I would say that Leone Marucci has a ton of good ideas, but needs to allow his actors less freedom, and needs the script to zing in rhythm with the camera.
thekarmicnomad
This is one of those films that is 'a little bit different'. It has plot and feel aspects of 'Run Lola Run', 'Vantage Point' and 'Donnie Darko' but doesn't manage to inspire anywhere near the same excitement as the other titles.The plot is non-lineal with the same scene being repeated multiple times from a different view point or dimension. The writing is excellent, most of the characters are interesting and engaging. There is some great casting too - especially the girl on the moped who is both incredibly beautiful, and a bit odd looking.Great camera work, settings, lighting and performances all around, etc. etc.On paper this should be an easy '9' but I can't bring myself to go higher than a '7'. With so many films now that are 'a little bit different' they are in danger of becoming all exactly the same. Maybe I have just watched too many, but by the time the end credits rolled I realised my mind was somewhere else. The punch line was weak and a bit pretentious and I had spotted the ending from about twenty minutes in.A movie that is magnificently crafted, but fails to be magnificent.
AD
