EnvyYouProductions Reviews

My Suicide (2009)

A true indie with a broad appeal

[9/10 · 11 February 2009]

I can only agree with the other comments. MY SUICIDE is a true find, and will hopefully make its way into international cinemas. Despite the fine cast, including established thesps like Joe Mantegna, Mariel Hemingway and David Carradine, it is a true independent film with a small budget, but skillfully done, and spiced with such a sharp sense of humour, a lot of energy, heart and food for thought. It doesn't play dumb for the audience, but stays easily accessible throughout without ever becoming trivial. Main actor / co-writer / co-editor / producer Gabriel Sunday (here wrongfully credited with the role Holden, rather than Archie) shows so much talent that you can almost turn envious. There'll be more to see of him in the future for sure! The wicked editing and compositing, the multi-format footage, and the congenial animation add-ons never feel contrived, but spice the film with a young look that will hit the youthful viewers especially. You can watch MY SUICIDE just for entertainment (even after the laughable scenes get replaced by the more serious themes), you can watch it for pointers and understanding - your own troubles, your friends' or your kid's. But you should watch it nonetheless! Just hope you'll get the chance. Fingers crossed this film will get the publicity it deserves!

Hallam Foe (2007)

Heartfelt drama with a terrific angry young man

[7/10 · 31 July 2007]

Since Hallam's (Jamie Bell) mother died two years ago, he has detached himself from life, watching (even spying) the people from a distance, going as far as breaking in and searching their closets. He despises his stepmother (a surprisingly matured Claire Forlani) who he suspects of having murdered his mom. So Hallam takes off from the Scottish countryside to Glasgow, where he prowls the roofs, and finds a girl eerily resembling his mother. Revealing more of the story wouldn't do it justice. Jamie Bell masterfully plays an angry young man, reminiscing of Holden Caulfield. The film creates magical sequences, sports a wry northern humour, and doesn't shy away from exploring the feeling of loss and pain. Although the plot background relies too much on textbook psychology, HALLAM FOE remains a kindhearted, lively drama beyond the streamline tearjerkers. 7/10

Free Jimmy (2006)

DUMBO on speed

[7/10 · 31 July 2007]

Isn't it annoying how film reviewers describe unusual films often as (insert film title here) on drugs? So LIFE OF BRIAN is THE GREATEST STORY EVER TOLD on dope, MEET THE FEEBLES is MUPPETS on acid, and perhaps JAWS once was FLIPPER on steroids. Having said that, FREE JIMMY literally is DUMBO on speed. No, really: Jimmy is a circus elephant that's kept quiet with downers and pushed with uppers for the show. And that old pachyderm is wanted by many groups. Smalltime crooks want to retrieve heroin sewn under the animal's skin, the Lappland mafia wants the same, militant animal activists want to free the tortured beast, and drunk Swedish game hunters look for anything as big as a moose to shoot in the Scandinavian outbacks. Doesn't sound like your run-off-the-mill blockbuster, and it isn't. FREE JIMMY is a CG-animated Norwegian film, skillfully voiced by Woody Harrelson, Kyle McLachlan, Samantha Morton, Simon Pegg, Jim Broadbent and others. It's wickedly non-pc, with a number of hilarious scenes, and sometimes reminds one of FRITZ THE CAT with the sex and suffering animals shown. It works as a FREE WILLY spoof, not sparing any of Jimmy's pursuers from scoff and mockery. It's not as insanely funny as THE FEEBLES were, but a good nasty laugh nonetheless. 7/10

The Bothersome Man (2006)

Laconic screen gem

[8/10 · 31 July 2007]

Imagine a world, in which everyone treats anyone nicely, no foul word is ever uttered, office bickering is nonexistent, and your boss invites the office crowd regularly to self-cooked dinners where you can chat about latest interior design styles. Everything is neat, pleasant - well, just nice. In other words: you are in hell. After being dropped off in the middle of nowhere, mid-thirties Andreas (Trond Fausa Aurvaag) starts a new job as a book-keeper in a small, clean city. From the beginning he feels foreign in this proper, impersonal world of superficial kindness, surrounded by pleasant but lifeless interior architecture and likewise colleagues. Food tastes of nothing, drinks don't get you drunk, no children anywhere; after initial steps of fitting in, Andreas searches for ways to escape the bland new world. He doesn't know where he came from anymore, but still remembers rich tastes, true feelings - anything beyond the non-committal flatline life he's leading now. THE BOTHERSOME MAN resonates ideas of Huxley and Kafka, but here the cruelty is the omnipresent noncommittal neatness. Unlike PLEASANTVILLE this is not about narrow-minded bigotry, more a fable of our urban free-world civilisation of fitting in. It mostly reminds one of the ingenious FIGHT CLUB scene, in which Edward Norton walks through a mock-IKEA catalogue. Spiced with macabre humour, this Scandinavian laconic tale convinces on every level: story, characters, and relevance. A true screen gem. 8/10.

Perfect Creature (2006)

Unfortunately boring despite good setup

[5/10 · 31 July 2007]

First a confession: I have a weakness for vampire films. There are just a handful that really did it for me (NEAR DARK, BRAM STOKER'S Dracula, BLOOD & DOUGHNUTS, FROM DUSK TILL DAWN and a few more), but this genre still intrigues me against my better judgment. So I grabbed the opportunity to see PERFECT CREATURE that comes up with a new concept: vampires were created in genetic experiments in the Renaissance era. The new breed called themselves The Brotherhood, formed a church and put their powers into the services of mankind. They're no evil bloodsuckers - until now. Suddenly people get killed and drained. The Brotherhood sends investigator Silas (Dougray Scott) to collaborate with the local police (led by Saffron Burrows). Together they try to hunt down the killer vampire, while The Brotherhood tries to hush things up. The story takes place in a fictitious city where it always seems to rain (hello SE7EN), the aesthetics is 19th century meets the 1930s, mixed with modern technology (see: DARK CITY). All in all no bad yarn, but Dougray Scott proves again his yawn qualities, and the characters stay two-dimensional in an extend one wished it really was a comic book (where it would be told better). The ending aspires to be the beginning to sequels or a TV series, which seems doubtful. But after all there have been follow-ups to way dodgier genre films. For me it just means waiting for the next good vampire film. 5/10

American Dreamz (2006)

No poignant satire, just a superficially adapted treatment

[3/10 · 12 July 2006]

It could've been good, it could've been funny, it could've been poignant, it could've been merciless and harsh. However, American DREAMZ is nothing like it. It's a "what if" idea that seems just like an adapted treatment. I can imagine the brainstorming session: "What if we made a satire on "American Idol", or "Pop Idol"?" - "Yeah, that'd be a real blast!" - "Oh, oh, what if the candidates are a Orthodox Jew and an Arabian terrorist sleeper!" - "Great, but we need some sex appeal, how about a curvaceous white trash go-getter?" - "And for the host we have Hugh as Simon Callow, he wants to play someone nasty." "Swell!" That doesn't sound like a satire so far, just a spoof? True, but the biggie woofer idea is: "What if we make the dumb President of the United States a guest juror!" "Whoah! And he just found his conscience, and - get this - READS newspapers! And his chief of staff is worried so he tries to get the Prez back on track, where he was his puppet on a string..." American DREAMZ is mildly funny, but it ain't no WAG THE DOG, DR. STRANGELOVE, NETWORK or MASH. None of the characters gain any depth and remain farcially shallow, none of the story lines evolve, they just hit the next destined treatment milestones, whether the story lead to it or not. This film doesn't annoy you, but you sit in your seat, desperately wanting to laugh. And there is much potential for a sharp, witty comedy. But almost none of it gets fired up fully. Plainly a missed opportunity!

The Sinister Saga of Making 'the Stunt Man' (2000 Video)

Insightful but overlong "Making of" docu

[6/10 · 9 July 2001]

Whatever happened to director Richard Rush? Honestly said: he sank into the nexus of Hollywood's forgotten talents. Those who actually know his film THE STUNTMAN starring Peter O'Toole and liked it, will be interested in THE SINISTER SAGA..., a 20-years-after Making-of... that gives a refreshingly unique insight into Hollywood politics, rather than explaining for the umpteenth time how a stunt evolves. Rush himself narrates the film, meeting colleagues and cast from his film (O'Toole, B. Hershey etc.). The voice of the film is poignant but bitter. Rush has only made one more film (COLOR OF NIGHT) since battling windmills with THE STUNTMAN.

Although THE SINISTER SAGA... is highly informative and fairly entertaining, its feature length asks for a lot of patience. The film is crudely edited, obviously on semi-pro equipment. The director's comments vary from sarcastic to self-celebration, repeatedly reciting past critiques, clearly wondering WHY his talent never got the wide recognition Rush claims to deserve. Still, THE SINISTER SAGA... is a substantial eye witness comment on Hollywood that goes under the surface, thus worth a look.

The Man in the Iron Mask (I) (1998)

Laughably awful adaptation with great cast.

[3/10 · 29 December 2000]

I rarely have laughed this much in such an awful film. Randal Wallace (screenwriter of BRAVEHEART) directs this Dumas adaptation and manages the almost impossible: he takes a great book and a great task and makes a deeply flawed film. The dialogues are unintentionally funny. The four musketeers overact badly - which yet again causes many laughs. Leo DiCaprio tries to resist the obvious overacting traps a double role offers - not always successful. And couldn't anyone have insisted on only ONE pronounciation of the name D'Artagnan? Now we hear British, French, and a couple of American versions - by people who are all supposedly French. Well, nevermind. It's a good laugh. Who cares then that it actually is supposed to be a historical action-thriller...

Sliding Doors (1998)

Highly overrated romance.

[4/10 · 29 December 2000]

If you don't like Gwynneth Paltrow, you shouldn't watch this movie anyway. If you like Gwynneth Paltrow, you probably will like the film. You will forgive her the annoying 110 per cent wannbe real British accent. You will forgive the film that it doesn't know what to do with the set-up, which - to be fair - is rather clever. It's another "what if" premise, only this time you see two different realities unfold at the same time and the audience watches two possible chain of events parallel. But the trouble is, the filmmakers don't know how to tie both stories together again, and eventually come up with a feeble solution. Another flaw of the film is, that it is inhabited by unlikable characters. Only John Hannah stands out as Paltrows new love interest - in one of the storylines. So do yourself a favour and watch him in FOUR WEDDINGS, and her in MR RIPLEY. You'll have a better time.

Boogie Nights (1997)

Repressed view on the porno biz - highly overrated.

[3/10 · 29 December 2000]

First I thought BOOGIE NIGHTS was supposed to be a satirical view on 70s porn film business. But slowly it dawned me that this overly long movie was a morale tale. Everyone of the characters, who all work in the blue movie biz, end up in the gutter. No-one seems to make a fortune, earn respect, or even have fun. No, they are all junkies, coke-heads, losers, and even dumb. The only world they can make it in is their sinful trade. What a hypocritical way to look at things. I assure you there are plenty of careers in Hollywood based on some involvement in the adult film market. This film tries to get the reputation of a "daring and groundbreaking film". Nonsense! Is it daring? Nope. Just take the scene in which Julianne Moore and Mark Wahlberg are filmed on 16mm. We can see the footage they shoot. It's supposed to be a hardcore flick, right? So why does the director only shoot from the waist up? Repressed. And this infamous shot of Wahlbergs Willy - it only shocked the uptight American critics. There was no need to show it that late in the film. It just wanted to gain attention in a cheap way at the end of a very long film. It is a shameful film, in more than one way. And it's another example how you can screw up a great idea.

Lethal Weapon 3 (1992)

Easily the weakest installment of them all!

[5/10 · 29 December 2000]

Why oh why? Why did they think this film had to be filled with slapstick? Whereas LETHAL WEAPON 2 managed to get the perfect balance between humour, a gripping plot and fabulous action, this one seems to think the fans just want to see ludicrous set-ups. Riggs sets off a bomb at the beginning. So the couple has to fill in parking tickets in their old uniforms. Is that how L.A.P.D. handles things? Nobody is asking for reality values - but this idea isn't even remotely funny. Unfortunately the script brings Leo Getts back and doesn't know what he should do there. Joe Pesci is a great actor, but even he cannot help but being annoying this time. Whereas he was a key character in the second film (and has very nice moments in LETHAL WEAPON 4 - just watch the "Froggy" scene!), this time he goes not only on Riggs' and Murtaugh's nerves with his "o.k.o.k.o.k" routine. On top of all this the villain is so forgettable, you hardly can remember him when the end titles roll. Even the action scenes seem to be shot with some lack of conviction. Anyway, Gibson and Glover do their stuff alright. And Rene Russo is a good addition to their team. Still, even a weak LETHAL WEAPON film rates far higher than most van Damme or even Stallone shoot-'em-ups.

Saving Private Ryan (1998)

Solid war movie, but highly overrated.

[6/10 · 28 December 2000]

I know, I know: RYAN is supposed to be Spielberg's second SCHINDLER. But seriously: If you think about it, it's obviously not! Alright: The Omaha Beach scenes are really some of the most astonishing action sequences ever staged. However, the following story unfolds as a cliché-ed plot like any war story. It reminded me even of the pilot to TOUR OF DUTY. Tom Hanks leads a small platoon through enemy lines to save the last of four brothers, three were already killed in action. On this mission, some of the G.I.s get killed. The rest start pondering if this trip - if the war - is worthwhile. So far so good. To show that this movie is a deep one, Spielberg pulls the joker of showing the enemy in a humane way: "Steamboat Willy", a German officer doomed to get shot, who turns out to be just another nice guy, but from the wrong side. They let him get away. But when they encounter him the second time, the G.I. translator - who never before has killed anybody - has of course to shoot him, just to show that all Germans were demons after all. Hypocrisy! And all the discussions whether the effort was worth it are silenced, when Ryan turns out to be the bestest American boy ever! It could've been a far better film if Ryan was a) dead already, b) a cowardish and unlikable character, c) black, or d) just not to be found. THEN all the thoughts about the reason of war would have led somewhere. Now they are just a fig leaf to cover up a standard B-wartime flick.

Blade (1998)

High octane vampire action: Highly entertaining popcorn fare.

[7/10 · 28 December 2000]

Some films just have chemistry. BLADE is by far no masterpiece - it's simply a comic strip come to life. But hey, does it come to life! The "bloodbath" scene at the beginning is a real eye fest. Alright, Snipes impersonates rather than acts the semi-human vampire killer. But he's cool as an icicle. Sidekick Kris Kristofferson is the perfect choice. And Stephen Dorff makes a decent villain. Still, logic doesn't apply to the plot (e.g. if the old, pure vampires like Udo Kier are that powerful, why can Dorff kidnap him this easily?). In fact, the whole mythology behind the film is half-cooked, if that. The showdown is loud, but its solution a bit feeble, providing a one-liner that could compete with the worst: "Some motherf**k**s always try to ice-skate uphill." Snipes states. Huh?!? Still, if you watch the originally intended ending on DVD, you learn to appreciate the lame finale. To sum it up, let's listen to something Mick Jagger once said: It's only Rock'n'Roll, but I like it.

Body Count (1998)

Highly underrated gangster thriller.

[7/10 · 28 December 2000]

Some films just don't have good advertising. This one could've been a success - if anyone outside the festival circle would've been aware it even existed. BODY COUNT has a great cast, some nice twists, and generally a zany, well-paced script. It's a matured RESERVOIR DOGS, with less pop-cultural chit-chat and more substance to the plot. Check it out, you might be positively surprised.

Short Sharp Shock (1998)

Superb gangster melodrama made in Germany.

[8/10 · 27 December 2000]

There are German films that aren't relationship comedies or delve into recent history. This film is a gangster melodrama, set in the Turkish community of Hamburg Altona. We care about the fates of the colourful, not-always-do-goods, emphasise with their struggle against the life they live. KURZ UND SCHMERZLOS manages to reach a rare quality: it feels "real".

St. Pauli Nacht (1999)

Worthwhile episode film, picturing the darker side of Hamburg.

[7/10 · 27 December 2000]

Sönke Worthmann usually shoots contemporary comedies - mostly highly entertaining. this time he tries successfully to change the genres. His episode film set in one of Europe's most notorious quarters shows sensitivity, sense for pace and rhythm, and genuine interest in the lives of ordinary people who live slightly off the track. An almost quiet film that could slightly change the perspective on German cinema.

Seven Days to Live (2000)

Nightmare of the Haunted Shining Pet Poltergeist House.

[5/10 · 26 December 2000]

Although most ideas are lifted from other horror flicks, this European movie produces quite a few jumpy scares. Something you should watch on your own in a dark and stormy night. Make sure you have a torch next to you, in case a fuse blows...

The Cell (2000)

Rather mindless, though visually interesting thriller.

[5/10 · 26 December 2000]

It's not another SILENCE OF THE LAMBS. Although it tries. THE CELL sports a flashy look, but is hollow behind the neat surface. Despite some stunning visuals, the far-fetched plot and surprisingly weak performances of Lopez and Vaughn make this a rather empty promise.

Rancid Aluminum (2000)

Waste of time, annoying wannabe-cool Brit gangster flick.

[1/10 · 26 December 2000]

How can you gather this respectable cast of young British actors and come up with such a pile of filmic manure? Horrible script, annoyingly hectic camera, awfully edited, gruesomely badly acted. Only Rhys Ifans tries to fill his role with life. Another painful proof that "different" sometimes equals "dreck". Why do the money people fail to read the scripts beforehand? Do yourself a favour: spare yourself and do something else - like hitting a mallet onto your knees. It's less painful and more fun than this movie!

Bless the Child (2000)

Devilish thriller - with a script right out of hell.

[2/10 · 26 December 2000]

ANGEL HEART and DEVIL'S ADVOCATE both told great stories about dealing with the devil; - hell, almost even END OF DAYS comes up with a decent yarn about the forces of Darkness. But Kim Basinger's fight against Beelzebub and His allies must be one of the worst efforts. Badly acted (Kim seems to sleepwalk, whereas the sometimes refreshing Rufus Sewell most likely just came out of the Hasslehoff school of drama) and boring, the film drags on. Unconvincing SFX make us hate CGI even more. If The Devil's game is destruction of anything that's good, this film could've been executively produced by Him.

Grosse Pointe Blank (1997)

Highly enjoyable mélange of coming home pic, hit man plot and rom com.

[8/10 · 26 December 2000]

Do you like hit man stories? Do you sympathize with people returning home after a long, confusing time away? Do you fall for romantic comedies? If yes, then GROSSE POINT BLANK is The Film for you! The almost-always superb and likable John Cusack yet again hits the right chords as Martin Blank, the soon-retired pro killer, who combines his last job with his 10-year highschool reunion. Pondering about where life took him, he tries to win back his former highschool sweetheart (the sometimes irritating but here charming Mini Driver). Hilarious plot developments, great supporting cast (Ackroyd, Azaria, Piven, etc.) and a groovy soundtrack make this just a clever and fun movie.

Misfits of Science: Deep Freeze (Pilot) (1985) Season 1, Episode 1

Goofy, oddball and endearing comedy series with cult status.

[8/10 · 26 December 2000]

It's odd, it's offbeat, it's silly, it's pure 80s - it's funny! The tales of the weird science team of Humanadine are cult-following-worthy. For fans of The Six Degrees of... : This is a gem how to get from Max Wright to Vincent Price. Geddid? M.W. - Courtney Cox - Lisa Kudrow (FRIENDS) - Christina Ricci (OPPOSITE OF SEX) - Johnny Depp (SLEEPY HOLLOW) - Vincent Price (EDWARD SCISSORHANDS).