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THE KIDS ARE ALL RIGHT (2010)

Reviewed by Jerry Saravia

"The Kids are All Right" is a peculiar comedy-drama - it promotes family values as a do-or-die matter but other core values - befriending strangers and being kind to others - are missing in action. This is the first movie I can think in a long time where a married lesbian couple raising a family (or any couple really) is strictly adherent to a value system, and nothing should intrude upon it. For others, this might seem like a horror movie set-up.

Annette Bening is Dr. Nic, a control freak and a perfectionist who is an OB/GYN. She lives with her lover, Jules (Julianne Moore), who has a vested interest in landscaping and has failed at other business opportunities. Jules seeks Nic's approval but she incorrectly thinks that Nic doesn't want her to succeed - she thinks Nic wants her to play the role of the housewife. Both are mothers to two kids, college-bound Joni (Mia Wasikowska) and her younger brother, Laser (Josh Hutcherson), a would-be athlete. The kids were brought into this world by a sperm donor, and the two kids decide to seek him out. The anonymous donor turns out to be an organic farmer and restaurant owner, Paul (Mark Ruffalo), who charms women he works with and sleeps with them. Can he charm Nic and Jules who are not ready to deal with his presence?

This is a good setup for a comedy-drama infused with complications. The writer and director is Lisa Chodolenko, who directed the superior, morose drama back in 1998 called "High Art" (much of this film's story is based on her experiences). Though I have not seen Chodolenko's second film, "Laurel Canyon," "The Kids Are All Right" falls short of conviction. I bought the premise, but not the follow-through. These two women are upset by the finding of this male donor but, slowly, Nic and Jules grow to admire a man who loves food, wine and Joni Mitchell. Jules does the landscaping for Paul's restaurant terrace, and then hops in bed with him! It is these scenes that are clumsily handled and Julianne Moore, who is usually better than the material provided, finds no nuance in her performance as Jules. Jules is shown to be literally stoned and indifferent, no matter the circumstance, and Moore carries both without the slightest shading - it is Moore at her worst since 1997's "The Myth of Fingerprints."

Ruffalo, who has not equaled the work he did in the great family drama "You Can Count on Me," seems as adrift as Moore. He has an aw-shucks mentality that got on my nerves. Paul is a good guy, unquestionably, but Ruffalo fails to ignite the character beyond smiles and a general winsomeness. When he tries to give parental advice and is berated by Nic, he still smiles. The treatment of Paul by Nic and Jules also undermines any real goodwill I had towards this family - what threatens the family almost breaks them and results in an ending that is too cynical for me to accept. I understand why it is there, given the nature of the sexual orientation of the couple (and the fact that lesbians and/or gays have not been treated well in Hollywood for decades), but it is dramatically unsatisfying.

The one performance that stands out is Annette Bening, who does bring nuance, shadings and forcefulness to Nic. She has authority, strength but is not completely invulnerable. Bening makes every scene count. And I will give kudos to Mia Wasikowska who is more alive than in any frame of "Alice in Wonderland."

I liked portions of "The Kids Are All Right" - there are some very pungent and cleverly funny scenes - but I felt underwhelmed by its embryonic narrative and some unconvincing performances. There may an open-ended finale here technically with regards to Paul's fate and the fate of the family, but I don't like openly ambiguous endings that feel like resolutions. It says that this family survives intact, and everyone else that tries to connect with the family is on their own. 

When the Dinosaurs Ruled the Earth

JURASSIC PARK (1993)

Reviewed by Jerry Saravia

(Originally viewed in 1993)

Steven Spielberg is one of the few directors that can produce real movie magic on screen. Consider the magic wand he waved in such classics as "Raiders of the Lost Ark", "E.T.", "Jaws" and "Close Encounters of the Third Kind." "Jurassic Park" is no exception and though it is no classic by any means, it is a thrill-happy, terrifically exciting action picture bringing back Spielberg's whiz-bang intensity that the otherwise middling "Always" and the overblown "Hook" lacked.

Based loosely on Michael Crichton's novel, "Jurassic Park" focuses on a group of scientists (Sam Neill, Jeff Goldblum and Laura Dern) visiting a fantastical park in a South American island populated by live-breathing dinosaurs, including a vicious Tyrannosaurus Rex, quick-tempered, meat-eating velociraptors, and cuddly Brontosaurus specimens. According to John Hammond (Richard Attenborough), the owner of the park, the dinosaurs were genetically engineered by dinosaur blood found in mosquitoes, which were preserved in amber! Essentially, Hammond is like Frankenstein, bringing back dinosaurs from the dead!

"Jurassic Park" is a thrill ride from start to finish. Spielberg and writers Michael Crichton and David Koepp are not interested in character development - they simply know that audiences are too interested in seeing dinosaurs. You have to remember that the year 1993 was a revolutionary year for cinema - the term CGI was born. This meant that creating believable creatures and landscapes with the use of computer-generated images was a true possibility. Thus, this film was the first to ever show the most realistic dinosaurs ever seen in film history and that was the draw for audiences. Today, CGI seems like an afterthought but, back then, it was an astounding achievement.

Spielberg uses CGI to his advantage. There are two exceptional Spielberg sequences: one is a scary, horrifying sequence in which the T-Rex attacks two kids trapped in a car, and the other is when the velociraptors trap the same kids in a kitchen. There are lots of dino chomping scenes but then there are some purely amazing moments that evoke a sense of wonder and joy. The first glimpse of a dinosaur is the brontosaurus as it tries to reach a tree branch - Spielberg shoots the scene from a low-angle so that we get the feeling we are witnessing a majestic, prehistoric creature too grand and mysterious for our eye level. The T-Rex itself is astounding, and the impressive soundtrack (recorded in DTS - digital sound - for the first time ever) enhances the credibility and realism of these creatures.

So much talk about the dinos, what about the humans? Well, they recede in the background because any movie with creatures, especially dinos, will steal scenes from others, no holds barred. Still, this is a helluva good cast. Attenborough is appropriately and equally gleeful and stubborn as the gullible owner, unaware of what he has created. Sam Neill, an actor I dislike, gives a pleasing performance as Dr. Grant who seems to have a dislike for children. Laura Dern is wasted as Grant's wife, capable of much more than screaming fits. The actor who upstages them all is Jeff Goldblum as Ian Malcolm, a chaos theorist and mathematician who wears funny sunglasses and a rock n' roll leather jacket - he seems to have stepped out of "American Graffiti." His one-liners and his ridicule of this dangerous theme park bring a level of irony that Spielberg could have carried further than he does.

As a story, "Jurassic Park" lacks much thrust or significance, though it can be construed as a modern-day Frankenstein tale where the act of creating rests solely on whether something should be created, particularly when you meddle with nature. The characters are thin but they remain watchable personalities (including Samuel L. Jackson in a small role as a computer expert and Wayne Knight as another computer expert who decides to steal some specimens). But for undeniable thrills and escapist entertainment, nothing can beat Spielberg's exciting dinos and kinetic action sequences. As Pauline Kael once remarked, Spielberg doesn't just thrill you, he spooks you with giddiness and exhilaration.

'Heaven' Help Us

FINISHING HEAVEN (2009)

Reviewed by Jerry Saravia

Mark Mann's "Finishing Heaven" is a sad, mournful film of a life that could've been, or could it? Robert Feinberg is a former filmmaker who shot one film yet never finished editing it. I knew a guy once who was working on a short film, a comedy, for Public Access and had been editing it for three years and still wasn't remotely finished. One may also be reminded of Orson Welles who through the 50's right up until his death in 1985 had several unfinished films. He famously said that he didn't like to finish anything. This is one of the few documentaries I can think of that truly illuminates the task of completing something artistic, without knowing when it can be or should be finished.

"Heaven" is the name of the film and Feinberg, under the former tutelage of Martin Scorsese (his former NYU teacher), worked on a film that can't be easily classified in the late 60's. Andy Warhol and a slew of others come to mind describing the film "Heaven," an underground, experimental, free-form picture made with style and flash and dubious content (we see brief glimpses of visual tropes of the era, like midgets and bubble baths with red-haired divas singing). Eventually, things go wrong as days and days are followed by inconsistent ideas and mixed emotions (Scorsese eventually abandoned the project altogether). Feinberg pretty much abandoned his film as well, in addition to his former girlfriend and leading lady, Ruby Lynn Reyner. Now in present day New York City, Feinberg argues with Reymer about completing the film, and she wishes for co-writer, costume designer and casting credits. Their arguing of who gets credit for what, not to mention Feinberg's affair with another woman that killed their relationship, informs most of "Finishing Heaven." If you can put up with these two neurotic people, then you can endure the sadness chipping away at Feinberg.

"Finishing Heaven" is not just another documentary about an independent filmmaker trying to make it - it is about a fiftysomething ex-filmmaker, now a cruise ship greeter (is that an actual job?) and a father, trying to resolve his early life in some context by finishing and editing his first and only film. The fact is that if Feinberg ever finishes it (and I doubt it), he may not resolve much of anything. He was an impassioned film school student, perhaps fueled with more anxiety and passion for film than even Scorsese, but he never quite set his sights on completing anything - I gather he just loved shooting reels and reels of film. One gets the impression that his high level of anxiety coupled with early drug addictions self-destructed his artistic side, thus lacking the confidence to complete his film.

I don't know what to take away from Mann's "Finishing Heaven" except that it is sad yet hopeful, and tinged with a lot of regret but not necessarily remorse. It is less about finishing a film than it is about the realization of what Feinberg once had and how he can complete and close his past demons. Judging from recent festivals and comments made by Feinberg, he remains a filmmaker paralyzed by his silver screen opus.

A charming, inoffensive B-movie

MONSTERS, MARRIAGE AND MURDER IN MANCHVEGAS (2009)

Reviewed by Jerry Saravia

A title like "Monsters, Marriage and Murder in Manchvegas" will remind some of the gloriously long titles of B-movies of the 1950's. After all, it is no different than a title like "I Married a Monster from Outer Space." Movies like "Manchvegas" don't seem to exist anymore and coming from writers Matt Farley and Charles Roxburgh (who also directed), they aim to make a charming, inoffensive picture that is seemingly exploitative (with a title like that, you can't expect less) but delivers a certain sweetness that can only emanate from its small-town setting.

The small town in this film is Manchvegas, or more appropriately to the rest of you, Manchester, New Hampshire. Three members of an entrepreneurial group known as M.O.S. (Manchvegas Outlaw Society) deliver newspapers, hot dogs, books, lemonade and poppy Beach-Boys- sounding CD's from their own band around town. They also solve some petty crimes such as finding the kids who are stealing the delivered newspapers. Of course, M.O.S. mostly spend time at a nearby lake engaging in lots of tomfoolery and "summertime fun," including throwing water balloons at each other. The leader of M.O.S. is Marshall (Matt Farley), who pines for the affections of Jenny (Marie Dellicker), another member of the group (would a blonde adult really hang out with such a group?). There is also All-Star Pete (Thomas Scalzo) and he mostly plays basketball and sets up surveillance on Jenny's dates so that Marshall can scare them off. Can't really blame Jenny for seeking other men since Marshall suffers from maximum arrested development.

A murdered bride-to-be is found and M.O.S. decides to solve the murder (their credentials don't extend beyond stolen newspapers). Another bride-to-be, a product of finishing school known as Melinda (Sharon Scalzo), is missing after she was last seen skinny-dipping but who is the killer? Is it the local grocer who became her fiance? And what are those strange, mythical forest beasts, known as Gospercaps, who speak in an indiscernible language? Are they harmless or are they murderous?

I will say that "Monsters, Marriage and Murder in Manchvegas" is an original treat for anyone who loves cheesy, low-budget B-movies, especially those that are still shot on film. Though some of the actors, such as police chief Delvecchio (James McHugh, who is clearly reading his lines rather than speaking them) or Melinda's dad (Kevin McGee, whom Farley has described as their Bela Lugosi), don't give spellbinding performances, Matt Farley, however, gives it his all - he has presence in those arched eyebrows and slight squeaky voice (he was genuinely creepy in his last outing, "Freaky Farley"). He clearly gives the best performance in the film and the sweet little love story with Jenny adds a layer of true innocence to the proceedings. You can tell these guys had fun making a cheerful, unpretentious film that nearly everyone might have a hard time disliking. But it is also that small-town innocence that gives the movie an added touch of nostalgia.

Farley and Roxburgh have to work on ironing out their repertory of actors but they have ideas and combine humor, nostalgia and a good sense of time and place, not to mention a witty, engaging script with three solid lead actors (will someone please give these guys a bigger budget?) I cannot wait to see what they cook up next.

Savvy, Devious Farley

FREAKY FARLEY (2007)

Reviewed by Jerry Saravia

For a freakishly funny, savvy and thoroughly enjoyable parody of 70's and 80's horror flicks, you can't do better than "Freaky Farley." Though hardly perfect or perfectly realized, it is still a nice little surprise for those who are hungry for something other than "Scream" or "Saw" or any of its infinite bloodless variations.

Freaky Farley (Matt Farley) is from a small New England town where he is something of a legend (he is one of three legends). No, he is not a witch or a medicine man living in the woods - he is a town freak who spies on women with binoculars and wears the same black-and-white striped shirt since childhood. Farley lives with his stern, domineering father (Kevin McGee), a self-help radio host, who gives his son comprehensive tests in the morning! One assumes that if he gets a failing grade on a test, Farley has to dig a hole in the backyard, four feet deep and four foot wide (Catholic School was never that strict). That punishment isn't just for poor test scores (including scoring an 86 percent - boy is his father tough!) but it also includes anything Farley does wrong. His father wants Farley to go out and get a job with a local telephone company that results in one of the funniest scenes involving a female employer - I wouldn't spoil it for you. Essentially, his father wants him to become a man, and wear a different shirt!

Just when you think that things can't get loonier, Farley falls for Scarlett (Sharon Scalzo), an adventurous girl who is as interested in spying and in the local townsfolk as Farley is (she spots him spying and becomes intrigued). They form a bond, which causes great concern from Farley's father and a next-door neighbor, Katie (Katie Reidy), who somehow knows exactly every move Farley makes and acts like a 2- year-old in the process. Added to that is some mysterious cabin from the Morgantown Woods and monsters (!) that the town is trying to keep secret - a secret that Farley and Scarlett are desperate to unveil. And for connoisseurs of offbeat characters for the sake of being offbeat, we have a scared ninja, a hobo who speaks of the danger in the woods, and a seductive local witch.

Granted, "Freaky Farley" is not to be taken seriously nor is it resolutely non-horror either. Take it as something that makes fun of horror without having its tongue in its cheek. For example, there are instances where writer-director Charles Roxburgh and co-writer Matt Farley (member of the band Moes Haven) aim for a fleeting character study. Farley always wears the same shirt, as perhaps a rebellious stance against his father (Farley keeps a few of the same shirts in his closet). Also interesting is how Farley is not afraid of anything or afraid of leaving the house - he is not an insular freak like the albino in "Powder" nor does he do anything freakish or sociopathic (spying is something any male might do but maybe when you are pushing 30, you are pushing it). When he meets Scarlett, he falls for her but still keeps his hands in his pockets. He likes her sense of spirit and adventure - this doesn't develop into a sexual relationship (he gets nervous and looks away when she goes skinny dipping yet he loves watching women undress through their bedroom windows). And the movie develops a sweetness and innocence that doesn't stray far from Mark Twain territory crossed with a little Nancy Drew, which is unusual for a movie of this type. As for the Twain reference, their relationship mirrors the Becky and Tom Sawyer relationship.

"Freaky Farley" falls under some of the traps of independent productions. It isn't smoothly acted or directed but then again, neither were the inspirations for the filmmakers ("Silent Night, Deadly Night Part 2" is not one of the proudest moments in film horror). But the flaws, which are expected in lower-budgeted productions, are outweighed by the pluses. For once, we have an indie horror flick that is shot on 16 mm film, as opposed to mini-DV. This lends the film a certain beauty that it wouldn't otherwise have. Secondly, the locations feel alive and haunting, especially the Morgantown woods. Thirdly, the script is haywire but always fun and surprising - you can't anticipate where the story is headed. I would also add that Matt Farley as Farley has devious, arched eyebrows that reminded me a little of Anthony Perkins. He keeps the story flowing from the absurd to the prototypically strange. And part of the mystery and the zany tonal shifts is that we do not know how freaky Farley really is.

(Interview with Dee Wallace): The Diverse Dee

AN INTERVIEW WITH DEE WALLACE: 
THE DIVERSE DEE

By Jerry Saravia

Dee in 1977's "Hills Have Eyes"

Dee Wallace in 1982's "E.T."

For anyone who was a teenager or an adolescent during the 1980's, you'd have to be living under a rock to not know who Dee Wallace was. Of course, some of my readers might be a little younger than me so let's refresh the subject at hand for a second. Dee Wallace's most famous role is the divorcee and mother to Elliott in the 1982 Steven Spielberg classic, "E.T.: The Extra-Terrestrial." She was also howling to the moons as a reporter who is bitten by a werewolf in 1981's funny and spine-tingling "The Howling." Or the mother from 1986's "Critters," not to mention the 1991 cult film "Popcorn" where she was the concerned mother to Jill Schoelen's traumatized Maggie? Or the mother protecting her son from a rabid St. Bernard in 1983's "Cujo" (perhaps the goriest Stephen King adaptation ever). But Dee had started earlier, back in the late 1970's. Who can forget Dee as the young mother whom we all hoped would survive the desert family of psychos in Wes Craven's "The Hills Have Eyes"? With her trademark sensitivity and vulnerability and overall sweetness delivered in spades, Dee was the sympathetic ideal woman for horror and fantasy.

As an actress, she has amassed a total of 196 credits, ranging from small roles in TV shows such as "Starsky and Hutch," "Lou Grant," "Hart to Hart," "Trapper John M.D.," "Cold Case," "Murder, She Wrote," and "The Office" to other notable film roles that were occasionally non-horror including Blake Edwards' "10," "Jimmy the Kid" with Gary Coleman and "Extraordinary Measures" with Harrison Ford, to name a few. She has also served as an executive producer and a choreographer. 

Lately, the diverse Dee Wallace has created her own website, www.Iamdeewallace.com, in addition to a call-in radio show devoted to the art of self-creation, and has written three books: "Conscious Creation," "The Big E," and "Bright Light."She is a trifecta of talent - Actor, Healer, Best-Selling Author.

1.) I think you have been asked to death about "E.T." so let's talk about the highly entertaining "Critters." You had taken on the matriarch role in a few films at that point already, especially in "Cujo" and "Hills Have Eyes." Aside from "E.T," my favorite matriarchal role you have played was in "Critters." Did Hollywood casting agents find it easier at first to cast you as a trusting suburban mother in unexpectedly fantastic and horrific scenarios?

Dee: "I think it just morphed into it. Sometimes I think I am just a really good screamer and have a full access of emotions, and the horror genre is ripe for that. I don't think they tried to create me as that, but it's the way it played out. I love the genre--the REAL horror film, because it has arcs and opportunities to really create within."

Dee in 1991's "Popcorn"

2.) "Popcorn" is another matriarchal role you have played, mother to Jill Schoelen's Maggie. I understand the shoot was fraught with some complications, including the recasting of the Maggie role that went originally to Amy O'Neill who was replaced by Schoelen. There has been a cult developed around this film. What are your thoughts on the film itself and the renewed interest it currently enjoys that it did not initially receive?

Dee: "It's so funny to me. As long as I have been in this business, it is an enigma why fans take to the things they do. At the conventions, people will stand in line for hours to meet an actor whose face has never actually been seen on camera, while a veteran of 100 films is nearby. It's crazy. And it's beautiful. "Popcorn" has indeed become a genre classic. "Popcorn" had so many problems I hardly remember them. Producers changed, money fell out. We were on, we were off. None of it really phased me, because I had just had my daughter Gabrielle ( who is now beginning her own career in a big way) and my husband was with me. All I was worried about was breastfeeding on time!! I do remember insisting that they create it so I could get in and out of the body cast. I remember thinking, 'Geez, guys, I'm gonna have to use the restroom SOMEtime!'"

Dee and her late husband, Christopher Stone, in 1981's "The Howling"

Dee in 1996's "The Frighteners"

3.) A real break from the trusting and sincere Dee Wallace that I think we all love was your role as a murderer's accomplice in Peter Jackson's "The Frighteners." What was the Peter Jackson experience like and, though I have not seen every single film and TV role you have performed, do you wish for more variety, say a comedic role (aside from 1985's "Secret Admirer")?

Dee: "I adore Peter and everything about him. I had a ball murdering everyone. Although my beloved Christopher died during the shooting, I still remember it fondly. Peter is a class act all the way. As far as comedy, I have had two sit coms on, baby! I like comedy if it's good. I hate it if it's corny. Far out, stupid stuff definitely does not rock my boat."

4.) Now that you have worked twice with director Rob Zombie, specifically on "Halloween" and the voice of Trixie in "Haunted World of El Superbeasto,", tell us what kind of role you have taken on in "Lords of Salem," your third film with Zombie, and what kind of atmosphere does Zombie create on the set?

Dee: "Geez. I love Rob. Truly. He is an artistic genius who is a really nice guy. I get to play all sides of Dee: the E.T. Dee and The Frighteners Dee. It's a great arc. He wrote it for me, and I am honored. It is very different from his other films. Can't wait to see the response!!"

5.) Lastly, tell us about your Thursday morning radio talk show, "Conscious Creations." It seems, after listening to one of your broadcasts, that your purpose is to stress the self, that you are the maker of your self and follow your heart, themes that need to be stressed within our consumerist, practically selfless society. Overall, am I on the right page because that is a message that needs to heard?

Dee: "By George, you got it! Both my radio shows focus on taking self responsibility in the creation of our own lives. It is amazingly powerful work, and my channel is clear and correct. The information that comes through astounds us, and we can discern instantly where a person is blocked and why. Tune in, baby! You'll love it!"

For more info on the radio show and her books, Go to http://www.iamdeewallace.com for everything Dee!

Listen to Dee every Monday from 5 to 6 pm PDT/PST on Bright Light on The Awakening Zone~(714) 364-4335.  http://www.awakeningzone.com/Show.aspx?ShowID=34

Conscious Creation, free call in show~(646) 915-9919.  Thursday 8 to 9 am, PST/PDT.

http://www.blogtalkradio.com/ConsciousCreation

How good a singer is Jewel vs. Alanis Morrisette?

HELL'S GATE (2007)

Reviewed by Jerry Saravia

(Viewed in Spring 2008)

A few weeks ago I saw "Lucky Number Slevin," which had style to spare but no story to tell. "Hell's Gate" is just the opposite - it barely has style to spare but it also has a story with a surprising twist.

Kevin Kinney (Brian Faherty) is an ex-con and former stock broker who is in desperate need for cash. He owes money to the mob but his past friends refuse to give him a nickle. Kinney's loose cannon pal and former cell-mate, Ben Deardon (Jeremy Cohen), has a meeting with a certain British gentleman named Mr. Nobody (Teddy Alexandro-Evans) who has a profitable job for them - to kidnap a billionaire's daughter (Chelsea Miller)! For Kevin, this is a long way from Wall Street but he reluctantly takes the job. The kidnapping is successful, thanks to good old chloroform. Unfortunately, the two ex-cons and the billionaire's daughter, who is tied to a chair, have to stay in some hideout until Mr. Nobody comes back from delivering a ransom note! Are these protagonists doomed? Will Mr. Nobody actually double-cross them and kill them? Inevitably.

The comparisons to Tarantino's edgy, postmodernist crime flicks are also inevitable. There is a pungent discussion on the singers Jewel and Alanis Morrisette and their respective love songs. I also caught a reference to Man From U.N.C.L.E. And the movie zigzags from flashbacks to flashforwards to intertitles. The idea of two ex-cons with a hostage inside a building can find its roots as far back as John Ford, concluding with John Carpenter and Quentin Tarantino. I could say that, folks, the thrill is gone. We have seen interminable gangster/ crime flicks and, more often than not, there is little variety among them. Still, I have to give debuting writer-director John Cecil credit for trying to make this more than just passable. The script can be weak but there are some inspired moments. Notably the opening scene, where Kevin is confessing about a past girlfriend, could be set in a psychiatrist's office or at a police station (we find out later the actual location). I also liked how these two criminals have no idea how to conduct themselves with a hostage, or how to properly prepare a ransom note (the hard-edged guys in "Reservoir Dogs" could eat them for breakfast).

Since this is an independent production and I understand limitations in terms of budget and cutting corners, I will say that two actors could've been better cast. Teddy Alexandro-Evans as the mysterious Mr. Nobody lacks charisma and hardly seems threatening, even with a calm demeanor. Chelsea Miller doesn't lend her part any real weight and is summarily unsympathetic and unlikable - sure, it is hard not to wince seeing a woman beaten down by two thugs but I barely cared. The stars of the film are Brian Faherty, the straight shooter who wants a change from his current lifestyle, and Jeremy Cohen as the cokehead who is far more dangerous than anticipated. Both of these roles reminded me of Timothy Hutton and Sean Penn's characters in the fantastic "The Falcon and the Snowman" - characters as two polar opposites who may be both doomed in this kidnapping scenario (they even wear the same clothes that seem to come from a vintage 70's shop).

Though it has nothing new or refreshing to say about the so-called "honor among thieves" crossed with a kidnapping/hostage tale, "Hell's Gate" still zips along with a clever ending and two ex-cons who are unable to escape the inevitable.