Tag Archives: D


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.  


Producers: Giles Daoust, Luke Barnett, Vincent Masciale and Mike Marari   Director: Julien Seri   Screenplay: Giles Daoust   Cast: Shawn Ashmore, Gary Cole, Daniella Alonso, Richard Harmon, Judah Mackey, Sonya Walger, Vahina Giocante and Lin Shaye   Distributor: Vertical Entertainment

Grade:  D+

Giles Daoust’s screenplay for Julien Seri’s would-be thriller goes for something utterly formulaic, and fails to nail the simplest of recipes.  “Darkness Falls” is like a bad episode of “Criminal Minds,” structured as though it were “Columbo.”

The hero is a Los Angeles police detective named Jeff Anderson (Shawn Ashmore).  He has a beautiful wife named Elizabeth (Vahina Giocante) and a cute-as-a-button son named Frankie (Judah Mackey).  But his domestic bliss is shattered when Elizabeth is murdered.

Not that her death is listed as a homicide.  Jeff finds her in the bathtub with her wrists slit, and so it’s ruled a suicide.  Jeff, however. instinctively knows it was murder, and he’s right.  This is no spoiler, since we’re shown the crime being committed at the start by two men, the older one, Mark Witver (Gary Cole) the leader and his son Adam (Richard Harmon) his obedient helper.

Later in the picture, Mark takes the opportunity to explain why he became a serial killer and enlisted his boy in the business.  As a child he had daddy issues, and then he had a bad marriage.  Naturally he offed his wife, and he and Adam have bonded by making their murders of other women look like suicides ever since.  Makes sense, doesn’t it?

In any event, Jeff sends Frankie off to live with his grandmother (Lin Shaye), devoting himself to proving that Elizabeth was murdered and finding the culprit.  His method has two tracks.  One is to slog through old suicide cases to find whether there have been others, like his wife’s, that need a second look.  The other is that hokey old writer’s standby—to think like the killer. 

Jeff’s obsession irritates his boss (and erstwhile partner) Kelly (Daniella Alonso), who berates him for spending all his time on a closed case rather than seeing to his current ones.  But he’s proven right when the killers strike again but their victim (Sonya Walger) survives. 

Jeff now analyzes where the duo might strike again, stakes out the home of a likely target, and intervenes when they show up.  In the ensuing melee Mark is captured but Adam escapes.  But the evil fellow has a contingency plan: Adam kidnaps Frankie and threatens to have the boy killed if he’s not released.  Naturally Jeff can’t let his son die. 

Thus far “Darkness Falls” has been silly in a pedestrian way; now it turns ludicrous and pretentious, setting up a confrontation between Jeff and the killers in which he’ll have to decide how far he’ll go to avenge his wife and save his son.  There’s a whiff of “Se7en” in the air at the oil-drilling site where the action plays out, but none of that film’s tension.  Despite Ashmore’s frantic performance, the movie is a drab and lifeless pseudo-thriller.

One has to feel sorry for veterans like Cole and Shaye, but both give the material their all.  He goes the florid route, smugly oozing malevolence as he spouts the absurdly ripe lines Daoust has provided.  She plays concerned and nothing more.  Alonso is wasted in more ways than one, and Harmon acts up a storm to little effect.  Mackey is cute and—of course—precociously wise for his years. 

On the technical level there’s little of note here.  Cinematographer Shan Liljestrand manages to give the images a grittily authentic look, but despite a short running-time Seri’s prosaic direction and Brody Gusar’s editing make the movie a drag. Sacha Chaban’s score seems to consist of a single brooding motif endlessly repeated. 

The closing credits give two titles for the movie –“Anderson Falls” and “Darkness Falls.”  It’s not worth checking out under either of them.