Tag Archives: D


Producers: Gay Iorio, Tony Delgadillo, Charles Ehrlinger, Eliza Ehrlinger, Tina Carlone and Sheila Vossgough   Director: Charles Ehrlinger   Screenplay: Charles Ehrlinger   Cast: Richard de Klerk, Cara Gee, Paul Schackman, James Aaron Oliver, Steve Lewis, Emily Muggleton, Chase Yi. Mason Hafa and Angie Gregory   Distributor: Gravitas Ventures

Grade:  D+

A potentially interesting idea is squandered in Charles Ehrlinger’s would-be thriller “Alone Wolf,” whose potentially intriguing premise is botched by pretensions to depth and inept execution.

Richard de Klerk is Jonathan, who, though not technically agoraphobic, is so convinced that the outside world is a dangerous cesspool of germs and similar threats that he’s kept to his house for years, recommending the same strategy to others.  (The picture’s original title was “Lone Wolf Survival Kit.”)  His only contact with the world is via a monitor through which a deliveryman (Chase Yi) communicates with him as he drops off and takes away boxes at the front door.

Jonathan’s solitude is shattered when a thief named Benny (James Aaron Oliver) shows up to steal the boxes from his stoop, accompanied by his girlfriend Town (Cara Gee).  The deliveryman tries to intervene, only to be pushed aside by Benny; the guy falls to the pavement, hits his head and dies.  Town fights with Benny and begs Jonathan, who’s seen everything, to let her in, and despite his hesitation, he does.

That’s the beginning of a relationship that changes Jonathan’s life.  He’ll be dragged out of the house by the police for questioning, and though his lawyer (Paul Schackman) advises him not to put them off, he claims to know nothing in order to protect Town.  Remembering his own troubled childhood, he’ll also get involved in trying to reconnect her with her daughter Sarah (Emily Muggleton).  But of course Billy is lurking in the background, ready to strike, and in the end his does in an unpleasantly violent climax that tests the bond Jonathan and Town have formed along the way.

None of this carries much emotional weight, largely because Ehrlinger’s screenplay is clumsily constructed, his direction flaccid, and the acting either somnolent (de Klerk) or overwrought (Gee, Oliver, and Steve Lewis as a detective).  The technical side of things—Marie Jach’s production design, Barry Idoine’s cinematography, James Griffiths’ score—is indifferent at best, and the editing by Ehrlinger and Mark Myers seems aimless. 

The result is a purported thriller that generates little tension or suspense.  Leave this toothless “Wolf” to its solitude.    


Producer: Merland Hoxha   Director: Merland Hoxha   Screenplay: Merland Hoxha   Cast: Grant Gunderson, Kendall Chappell, Austin Lauer, Olivia Lemmon and John Briddell  Distributor: Merland Productions

Grade: D

One can imagine that the premise of Merland Hoxha’s modest little picture—a project that might have been intended to serve as a calling card but will probably close more doors than it opens—could have been employed in one of those glossy Doris Day-Rock Hudson bedroom comedies of the 1960s.  If it had, though, the production values would have been far higher and the ending happier.  The movie probably would have been a lot more entertaining than this drab, flimsy drama, too.

The main plot thread involves Nate (Grant Gunderson), some sort of mid-level business executive in Los Angeles, and his live-in fiancée Jessica (Kendall Chappell), who is also a career woman.  They seem happy enough, until Nate gets an assignment from his boss (Jon Briddell) to go to New York and take over the management of the office there, which has been poorly run, for six months. 

Nate is worried that during his absence Jessica might take up with a co-worker she’s been mentioning lately, a fellow we never see.  His solution is to ask his best friend John (Austin Lauer) to attempt to seduce Jessica in a test of her fidelity. John is reluctant, but agrees out of a sense of friendship.

The only real subplot at work is a relationship John has been trying to establish with Amber (Olivia Lemmon); in fact, the picture opens with a fairly long sequence apparently representing their initial date.  It doesn’t go well, since Amber keeps taking call after call on her cell phone as he’s struggling to have a conversation with her.  When they encounter one another later in the movie, she expresses annoyance that he’d never called her after their date.  (The wonder is that he’d ever have bothered to talk to her again after the way she acted; apparently she sees nothing wrong in what she did, blissfully offering an explanation about helping a girlfriend decide what to wear that makes it even worse.)

Nate, of course, comes off as an insufferable jerk for treating Jessica as he does, but she has to bear some responsibility for putting up with him.  Presumably John is meant to be the sympathetic member of the bunch, but he’s no prize either, allowing himself to be used in such a scummy scheme.  Perhaps he deserves Amber after all.

One can imagine Hoxha’s scenario having a chance if it were played as light comedy or farce, but apparently it’s intended as a deadly serious commentary on modern relationships, and really can’t survive such treatment.  The script consists largely of long, one-on-one dialogue sequences that sound like mediocre improvisations, though they probably aren’t.  It doesn’t help that the acting, especially by Gunderson and Lauer, is wooden and stiff; the women are only marginally better.

The technical side of things is also mediocre.  Madeline O’Brien’s production design is okay, but the cinematography by Ludovica Isidori and Wey Wang is unpleasantly glaring, though the bad lighting has much to do with that.  Though the movie is only seventy minutes long, as directed leadenly by Hoxha and edited languidly by Juliette Edwards it feels much longer.

“The Departure” will make you want to take a powder long before the unpleasant plot reaches its clumsy end.