2018 Cannes Marathon: Captain Fantastic

(Winner of the Un Certain Regard Prize for Best Director to Matt Ross at the 2016 Cannes Film Festival)

Written and directed by Matt Ross, Captain Fantastic is the story of a family whose patriarch is forced to return to society with his six children as they’ve been living in the forest as they deal with other family members and the modern world. It’s a film that explores a man trying to deal with returning to the world as well as loss and what people want for his children. Starring Viggo Mortensen, Frank Langella, George Mackay, Missi Pyle, Kathryn Hahn, and Steve Zahn. Captain Fantastic is a riveting and witty film from Matt Ross.

The film revolves around a man who lives in the forests in the Pacific Northwest in Washington with his six children as he receives the news that his wife had died and her father is barring him from the funeral that is held in New Mexico only for the man and his children deciding to go in defiance against their grandfather. It’s a film with a simple premise that play into a man who lives in an unconventional world in the forests where he and his children hunt for food and do all sorts of activities including mountain climbing and read various philosophical things about the world. Matt Ross’ screenplay follows the lifestyle that Ben Cash (Viggo Mortensen) has created with his wife Leslie (Trin Miller) who have six children that live with them as they all share views about their disdain for capitalism and the conformities of society. Yet, Leslie would briefly leave to go to the hospital for treatment for her illness until Ben’s sister Harper (Kathryn Hahn) gives him the news that Leslie died.

The first half of the film largely is set on the road where Ben is taking his kids on their bus as they drive from Washington to New Mexico to go to Leslie’s funeral despite the threat that her father Jack Bertrang (Frank Langella) about having Ben arrested if he shows up. On the road, Ben’s children deal with the world they’re encountering as they have very little clue about the outside world other than the ideas of capitalism and such as well as celebrate Noam Chomsky’s birthday months earlier as they see him as a great philosopher. Yet, there are also these elements of curiosity in the film as it relates to the eldest son Bodevan (George Mackay) who encounters the opposite sex as he is trying to figure out how to woo them while concealing the fact that he’s been accepted to various top universities in America. There’s also tension within the family as the middle son Rellian (Nicholas Hamilton) believes that his mother really died because of his father. The film’s second half is set in New Mexico as it doesn’t just play into family tension but also why Jack has a grudge towards Ben as he is also concerned for the well-being of his grandchildren.

Ross’ direction does have element of style yet much of his approach to the compositions are straightforward to play into the world of a family who don’t live in conventional society. Shot largely in the state of Washington with additional shooting in Portland, Oregon, the film does play into this world where the forest is a place where Ben feels right at home with his children as they spend much of the day learning about philosophies and ideas as well as train to survive for any kind of situation. The first thing that is shown in the film is Bodevan in camouflage as he kills a deer as it is a moment establishes what Ben and his family does to get meat as well as the fact that they have their own garden and the only time Ben and Bodevan leave the forest is to certain things in a nearby town as their source of transportation is in a bus called Steve. Once the film goes on the road, Ross would use wide shots for the many locations they venture into while using close-ups and medium shots to play into the way they interact with other people and things including a stop at Harper’s home with her husband Dave (Steve Zahn) and their two sons.

Ross’ direction also include some humor where Ben asks his nephews about the Bill of Rights as his youngest daughter Zaja (Shree Crooks) brings her own interpretation of the document as it shocks her aunt. The funeral scene is comical but also unsettling for the fact that Ben and his kids are seen wearing strange clothes in comparison to what everyone else in the church is wearing as it play into two different worlds and ideals clashing together. Yet, there is something about the world that Jack offers to his grandchildren that is still compelling as he’s willing to give them a sense of security as well as a chance to discover the real world. Still, much of the film’s motivations is driven by loss as well as the air of uncertainty as it play into what Ben has to do for his children and the possibilities they can bring to the world. Overall, Ross crafts a mesmerizing and witty film about a family who enter the world of society to attend the funeral of their mother.

Cinematographer Stephane Fontaine does brilliant work with the film’s colorful cinematography with the natural look of the scenes of the forests as well as the usage of low-key lighting for some of the scenes at night including at the homes of Harper and Jack. Editor Joseph Krings does excellent work with the editing as it is largely straightforward with a few rhythmic cuts to play into the comedy and drama. Production designer Russell Barnes, with set decorators Tania Kupczak and Susan Magestro plus art director Erick Donaldson, does fantastic work with the look of the bus known as Steve as well as the forest home that Ben and his family live as well as the more lavish home that Jack has.

Costume designer Courtney Hoffman does amazing work with the costumes from the ragged hippie clothes the kids and Ben wear as well as the wild clothes they would wear to their mother’s funeral. Sound designer Frank Gaeta does superb work with the film’s sound as it play into the atmosphere of the locations as well as the way nature sounds in its natural environment. The film’s music by Alex Sommers is wonderful for its mixture of folk and ambient music textures with some original music played on location while music supervisor Chris Douridas provides a nice mix of genres ranging from classical pieces by Johann Sebastian Bach and Glen Gould as well as music from Alex & Jonsi, Sigur Ros, Bikini Kill, and covers of songs by Guns N’ Roses and Bob Dylan.

The casting by Jeanne McCarthy is incredible as it feature some notable small roles and appearances from Erin Moriarty as a teenage girl that Bodeven meets and falls for at a trailer park camp, Missi Pyle as the girl’s mother, Elijah Stevenson and Teddy Van Ee in their respective roles as Harper and Dave’s sons Justin and Jackson, Trin Miller as Ben’s wife Leslie, and Ann Dowd in a terrific small role as Leslie’s mother who would give Ben a letter she received from Leslie as she wants to get to know her grandchildren. Frank Langella is excellent as Leslie’s father Jack Bertrang as a man who has a grudge towards Ben for taking his daughter away from the world and blames him for her death as he wants to give his grandchildren a chance in live where Langella does show a sensitive and loving side when his character is around the grandchildren.

Steve Zahn and Kathryn Hahn are fantastic in their respective roles as Dave and Harper with the latter being Ben’s sister who are both concerned about their nieces and nephews and their interaction with the real world as well was what will happen to them when they’re adults. Shree Crooks and Charlie Shotwell are brilliant in their respective roles as the youngest children in Zaja and Nai with the former knowing a lot about body parts and government amendments while the latter is known for not wearing clothes when it’s time to eat dinner. Samantha Isler and Annalise Baso are amazing in their respective roles as the eldest sisters Kielyr and Vespyr as two teenage girls who are both dealing with growing pains with the former becoming interested in literature and the latter interested in adventure.

Nicholas Hamilton and George McKay are incredible in their respective roles as the middle child Rellian and the eldest child in Bodevan with the former becoming concerned and angry about some truths about what happened to his mother while the latter is trying to conceal secrets about being accepted to prestigious universities just as he’s becoming fascinated by girls. Finally, there’s Viggo Mortensen in a phenomenal performance as Ben Cash as a man of great intelligence who decides to shelter his children away from conventional society in the hope they can think for themselves as he also deals with the death of his wife as he’s also forced to realize his own faults in his methods as it all relates to loss and his unwillingness to deal with reality as it’s one of Mortensen’s finest performances.

Captain Fantastic is a tremendous film from Matt Ross that features an incredible performance from Viggo Mortensen. Along with its ensemble cast, engaging premise, and offbeat tone, it’s a film that explores a man trying to hold his family together to mourn the loss of their mother as they also encounter a world that is foreign to them. In the end, Captain Fantastic is a spectacular film from Matt Ross.

Related: 28 Hotel Rooms

© thevoid99 2018

Side Effects (2013 film)

Directed by Steven Soderbergh and written by Scott Z. Burns, Side Effects is the story about a troubled woman who is given a medication to deal with her anxieties following her incarcerated husband’s return only for something to go wrong as the psychiatrist who gave her the prescription finds himself in trouble. The film is an exploration into the world of prescription drugs as well as anxiety as it revolves a young woman dealing with her issues. Starring Rooney Mara, Jude Law, Channing Tatum, Vinessa Shaw, Ann Dowd, Polly Draper, and Catherine Zeta-Jones. Side Effects is a chilling yet suspenseful film from Steven Soderbergh.

When one suffers from depression over the return of a loved one, what happens when a psychiatrist gives a prescription where it has serious side effects that causes problems? That is the idea of the film as it is about this troubled woman named Emily Taylor (Rooney Mara) as she sinks into severe depression following the return of her husband Martin (Channing Tatum) from prison for insider trading. After a suicide attempt, Emily meets Dr. Jonathan Banks (Jude Law) who examines her and, under the suggestion of her previous psychiatrist in Dr. Victoria Siebert (Catherine Zeta-Jones), gives her a medication in hopes that it will curb her depression. Instead, something goes wrong where Emily doesn’t remember what happen as questions are raised about the prescription Dr. Banks gave her as he is targeted for what happens. With his life and profession in danger, Dr. Banks has to see if it was the drug that got Emily in trouble where he makes discoveries over what really happened.

Scott Z. Burns’ screenplay doesn’t just explore the world of pharmaceutical drugs and the effects it might have but rather what it does to a person who is clearly troubled. While Dr. Jonathan Banks’ intentions to help Emily were noble, giving her a prescription of a drug that he doesn’t know much about based on the suggestions of other people does put him into trouble over what happened to Emily. Largely as questions are raised over the prescription he gave her as Emily’s husband had complained to Dr. Banks about her sleepwalking though Emily believes the drug is helping her. With Emily already a victim over what happened and Dr. Banks trying to find answers over what he gave Emily. He then starts to question Emily’s former psychiatrist Dr. Siebert about the prescription that he suggested.

Dr. Siebert is an interesting individual who was the one who wrote about this prescription that Dr. Banks was suggested to as he would ask questions about Dr. Siebert’s history with Emily. Notably as she started to examine Emily shortly after her husband’s incarceration where Dr. Banks keeps asking questions about their sessions together. Eventually, it allows Dr. Banks to examine Emily more where he gets some big revelations about Emily’s history and other aspects about her life. Burns’ script does have a unique structure where the first half is about Emily and the second half being about Dr. Banks as its third act allows the two characters to collide and finally reveal the truth over the side effects that put both characters in trouble.

Steven Soderbergh’s direction is definitely entrancing for the way he explores the world of depression and pharmaceutical drugs. Notably as he shoots the film with a degree of style from the framing he uses to explore the intimacy that goes on with the characters to the way scenes are presented in different ways. Notably a scene where Emily and Martin are on a boat at a party where Emily is clearly uncomfortable as her depression starts to take her forcing Martin to comfort her outside. Soderbergh also uses an element of ambiguity that occurs in the film such as a scene of Emily sleepwalking that has Martin concerned. Through some medium shots and slanted camera angles, Soderbergh is intrigued by what is happening to Emily as the side effects of her medication start to affect her.

By the film’s second half, Soderbergh’s camera becomes more tighter as the drama surrounding Dr. Banks starts to unfold. There is tension that occurs as the cinematography under Soderbergh’s Peter Andrews alias isn’t as stylized and a bit straightforward to maintain the sense of reality that is happening in comparison to the more stylized look in the film’s first half. Also through the editing in his Mary Ann Bernard alias, Soderbergh also takes his time for the mystery to unfold as it concerns Dr. Siebert as she proves to be a foe for Dr. Banks. Even as it creates a chilling climax in which revelations are unveiled in the hopes that Dr. Banks could save himself from his troubles and actually help out Emily. Overall, Soderbergh crafts a very mesmerizing yet provocative thriller that explores the world of depression and pharmaceuticals.

Production designer Howard Cummings and set decorator Rena DeAngelo does excellent work with the set designs from the look of the offices that some of the characters work at to the look of Emily and Martin‘s apartment home. Costume designer Susan Lyall does wonderful work with the costumes to display the stylish look of Emily in the film’s first half to the more casual look of the characters in suits and such. Sound editor Larry Blake does amazing work with the sound to capture the atmosphere of the locations as well as the tension that occurs in some key scenes such as Emily‘s suicide attempt. The film’s music by Thomas Newman is brilliant for its haunting yet evocative score filled with unsettling string pieces as well as low key cuts to play out the drama as it includes some hypnotic yet throbbing percussive pieces that adds to the suspense.

The casting by Carmen Cuba is fantastic as it features some notable small performances from Polly Draper as Emily’s boss, Sheila Tapia as Emily’s attorney, Mamie Gummer as an old friend of Emily, and Mitchell Michaliszyn as Dr. Banks’ stepson Ezra. Ann Dowd is terrific as Martin’s mother while Vinessa Shaw is superb as Dr. Banks’ wife Deirdre who deals with her husband’s workload and the scandal that he’s been entangled with. Channing Tatum is pretty good as Emily’s husband Martin who is both baffled and concerned for Emily’s depression and the side effects of the medication as he is trying to get back the old life he and Emily once had.

Catherine Zeta-Jones is amazing as the very ambiguous Dr. Victoria Siebert as she suggests to Dr. Banks a new prescription that causes trouble as Zeta-Jones brings this very ice exterior to a woman who doesn’t like to reveal herself or her relationship with Emily as it’s one of Zeta-Jones’ finest performances. Rooney Mara is great as Emily Taylor as this very troubled woman who is dealing with depression as she is afflicted by the side effects of the prescription she’s given as she tries to deal with all sorts of things as it’s a very eerie performance from Mara. Finally, there’s Jude Law in a remarkable performance as Dr. Jonathan Banks as this psychiatrist who is trying to help this young woman only to get in trouble over the side effects of the prescription as he tries to find out more information about the prescription as it’s a very captivating performance from Law.

Side Effects is a marvelous film from Steven Soderbergh that features top-notch performances from Jude Law, Rooney Mara, and Catherine Zeta-Jones. While it does have a few flaws in Scott Z. Burns’ screenplay, it is still a very compelling suspense-thriller that explores the world of depression and pharmaceuticals. If the film is to be Steven Soderbergh’s final feature-length film, at least he comes out with a winner. In the end, Side Effects is an extraordinary film from Steven Soderbergh.

Steven Soderbergh Films: sex, lies, & videotape - Kakfa - King of the Hill - The Underneath - Gray’s Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven (2001 film) - Full Frontal - Solaris (2002 film) - Eros-Equlibrium - Ocean’s Twelve - Bubble - The Good German - Ocean’s Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh Pt. 1 - Pt. 2


© thevoid99 2013

Compliance

Written and directed by Craig Zobel, Compliance is the story about a prank caller who claims to be a police officer as he makes accusation to a fast-food manager whose cashier had stolen money. The film is based on a real-life incident that left many people in trouble and business reeling from the damage as the film focuses on the people ruined by this prank. Starring Dreama Walker, Ann Dowd, and Pat Healy. Compliance is a disturbing yet harrowing film from Craig Zobel.

The film takes place in the course of a very busy, tense day at a fast food restaurant where a cashier named Becky (Dreama Walker) is working on what was supposed to be her day off. Later that morning, her boss in Sandra (Ann Dowd) receives a call from a man (Pat Healey) claiming to be a police officer as he says that Becky had stolen money from a woman’s purse and she’s in trouble. Forced to listen to everything the officer says, Sandra had to take Becky in the back in which Becky had to strip her clothes to see if she’s carrying any money. Things eventually escalate as Sandra asks her fiancee Van (Bill Camp) to watch Becky as he is forced to listen to the man as things get far more disturbing. Even as it leads to these people asking questions about all of the things they’re being told to do.

Craig Zobel’s screenplay explores this real-life incident that led to countless lawsuits and people’s lives ruined by this incident as he creates it into this tense, dramatic story. Even as he chooses to focus on these individuals who are being played into a prank that eventually ruins them. There’s a young woman who is a good worker and hasn’t done any crimes who becomes a victim over these accusations as she’s forced to be stripped naked and wear an apron to cover herself as she waits for the police. Then there’s this manager who is being played for a fool as she’s listening to this man who is making claims about all of this. Though there’s questions about this manager on whether she’s really dumb or is just being manipulated on a very stressful day. She’s also a victim because of all of these things she’s been told to do.

Then there’s her fiancee as he comes in because one of the employees refuses to listen to what this man is telling him to do. He is just as reluctant where by the film’s second half, he is forced to listen to this man’s instructions as it would lead to moments that would disgust him. Yet, there’s questions about his own intelligence as well where one would wonder does he know what he’s being asked to do is wrong. Leading all of this is man who is essentially a sadistic individual who is in glee over ruining the lives of these people and manipulating them into doing what he wants. Even as he makes these exaggerated claims where there’s minor characters who would question about what is happening.

Zobel’s direction is entrancing in the way he captures the tension and suspense that occurs throughout the film. While it starts out as a calm, straightforward film where nothing happens early on in a very busy work day at a fast-food restaurant. That all changes once that phone call comes in where it becomes this very dark film that mostly takes place in a fast food restaurant. The camera is always wandering around where it doesn’t remain still but doesn’t delve into shaky camera movements. Even through these close-ups where it adds to the sense of discomfort that is happening. In the film’s second half, the culprit does get revealed where it is established that what this man is doing is a very disgusting prank.

Though things get more troubling by the third act, there’s some revelations that occur in the aftermath of the incident where it does sort of become a different film. Yet, it revolves around these discoveries and the people who were affected by this prank. Overall, Zobel creates a fascinating yet distressing film that explores the world of manipulation.

Cinematographer Adam Stone does excellent work with the film‘s photography from the colorful, sunny exteriors of the locations to the more ominous lighting schemes inside the store room where Becky is forced to stay throughout the film. Editor Jane Rizzo does wonderful work with the editing by creating some rhythmic, suspenseful cuts to play out the tension and the chaos that ensues at the restaurant. Production designer Matthew Munn, along with set decorator Tom McMillan and art director Michael Powsner, does nice work with the look of the fast-food restaurant as well as the claustrophobic yet tense store room where Becky has to be in.

Costume designer Karen Malecki does very good with the costumes from the uniforms many of the characters wear to the casual clothes that Van and the caller wear. Sound designer Rich Bologna does brilliant work with the sound to capture the atmosphere of the fast-food restaurant along with the eerie scenes at the store room including the moment between Becky and Van. The film’s music by Heather McIntosh is superb for its brooding yet ethereal score that is filled with ominous string arrangements and chilling ambient textures.

The casting by Kerry Barden and Paul Schnee is terrific for the small ensemble that is created as it includes Ashlie Atkinson as Sandra’s assistant supervisor, Philip Ettinger as Becky’s friend/fellow employee Kevin, James McCaffrey as a detective in the film’s third act, and Stephen Payne as the custodian Harold whose presence would impact the film’s third act. Bill Camp is very good as Sandra’s fiancee Van who is forced to watch Becky under the caller’s instruction where he ends up doing things he didn’t want to do. Pat Healy is incredible as the very sadistic caller who manipulates everyone as he pretends to be a cop as he calls through a cell phone to do everything.

Dreama Walker is wonderful as Becky as she displays a sense of restraint as a young woman who has to deal with accusations and humiliation where it would eventually affect her as she tries to defend herself. Finally, there’s Ann Dowd in a brilliant performance as the fast-food manager Sandra as she brings a very captivating approach to a character who is unaware that she’s being fooled while being stressed out by what is happening at work.

Compliance is a mesmerizing yet eerie film from Craig Zobel that features top-notch performances from Dreama Walker and Ann Dowd. The film is really an unsettling drama that bears a lot of hallmarks that is expected in suspense and horror films. Notably as it reveals a lot of harsh truths about manipulation as well as the fact that incidents like this really happen. In the end, Craig Zobel’s Compliance is a terrifying yet engrossing film that will definitely leave the audience in shock over the actions that occur in this film.

Related: Z for Zachariah

© thevoid99 2012

All Over Me

Originally Written and Posted at Epinions.com on 6/22/07 w/ Additional Edits & Revisions.

Directed by Alex Sichel and written by Sylvia Sichel, All Over Me tells the story of two young women living in the Hell's Kitchen section of New York City growing up as their own friendship starts to diverge following the death of a neighbor. One of the girls begins to discover her own sexuality as she falls for a musician while her best friend is becoming involved in a self-destructive relationship with a man. Starring Alison Folland, Tara Subkoff, Cole Hauser, Shawn Hatosy, Wilson Cruz, Leisha Hailey, Ann Dowd, Pat Briggs, and Vincent Pastore. All Over Me is a charming yet heartbreaking drama from the Sichel sisters.

Two young women in Claude (Allison Folland) and Ellen (Tara Subkoff) are walking around a park in the middle of Hell's Kitchen discussing about forming their own band. They meet a new new neighbor named Luke (Pat Briggs)as Claude befriends him while Ellen is more interested in her new boyfriend Mark (Cole Hauser). At the pizza place where Claude works at with Jesse (Wilson Cruz), Ellen brings Mark to the pizza place where Claude feels concerned about the relationship. At one night at the pizza place, Luke arrives where he chats with Claude and Jesse as Claude is approached by Mark's friend Gus (Shawn Hatosy) about a date. Claude reluctantly accepts as the night becomes intense following a scuffle between Luke and Mark. The next day when Claude returns home from school, her mother (Ann Dowd) tells her some terrifying news.

After the news where Ellen reveals to Claude more information about what happened, Claude becomes more concerned about Ellen's time with Mark as she deals with her own sexuality. Taking an advice from Luke, Claude goes to a lesbian rock club where she falls for a punk-haired guitarist named Lucy (Leisha Hailey) where the two befriend each other. Lucy takes Claude to her apartment where they listen to some Patti Smith as Claude comes home learning that Ellen brought Mark to her apartment. Realizing that Ellen's relationship with Mark is creating trouble, Claude is forced to make some decision to protect Ellen from herself and reveal something that would change everything.

Coming home, Claude learns that Ellen had brought Mark to her apartment as she sees Ellen slowly self-destructing. After being forced by Ellen to go eat with Mark and his friends, Claude was forced to see things go wrong as she finds comfort in her Lucy and Jesse. After a confrontation with Mark, Claude is forced to see what she has to do to protect Ellen from herself as she makes a life-changing decision.

Given that the film is set amidst the riot grrl movement that included indie-rock icon Mary Timony of Helium in a band with Leisha Hailey. The film is really about the disintegrating relationship of two young women as they both go come of age in the middle of Hell's Kitchen. The script by Sylvia Sichel is well-structured though not entirely perfect due to some of the subplot of Ellen's descent. The story about Claude's self-discovery of her own sexuality and how she viewed her own relationship to Ellen. Alex Sichel's direction is wonderful and very realistic by shooting on location and not succumbing to any kind of melodrama or sentimentality. Especially for the fact that film is viewed a love story between two friends whose relationship disintegrates due to one's self-destructive behavior and how it affects her best friend who starts to discover how her sexuality.

Cinematographer Joe DeSalvo creates some amazing images with his camera from the wonderfully, colored exterior shots on the film's daytime sequences to the stark, shadowy images of the nighttime scenes. Production designer Amy Beth Silver and art director Kristen Vallow create some wonderful sets of the apartment from the poster of Patti Smith in Claude's room to the loads of CDs that Lucy has. Costume designers Kevin Donaldson and Victoria Farrell also create a unique look to the film's look by actually using real-life clothes like the baggy shorts that Claude wear to the short-shorts that Ellen wears. Editor Sabine Hoffman does some excellent work on the film's editing with a running time of 90 minutes where it's nicely paced and creates tension of the outcome. Sound editor Missy Cohen also works on the film's tension by not adding any kind of sound during some of the film's highly emotional scenes as well as the atmosphere that is Hell's Kitchen.

The film's score by Miki Navazio and Leisha Hailey is haunting to convey the sense of loss and tension while the soundtrack reflects the indie rock scene of the mid-90s. The soundtrack features cuts by Babes in Toyland, Ozark Mountain Devils, Cornershop, the Jesus & Mary Chain, the Geraldine Fibbers, Ani DiFranco, 12 Rounds, Remy Zero, the Amps, Hailey's old band the Murmurs, Helium, and a haunting track from Patti Smith. Hailey and Helium's Mary Timony both appear playing in a band that definitely represents the 90s riot grrl scene as it sounds raw and energetic to the indie rock scene.

The film features some notable small performances from Gene Canfield as Anne's boyfriend Stewart, David Lee Russek as Mark's friend Dave, John Ottavino and A. Russell Andrews as two cops, and indie-rock icon Mary Timony in a cameo role. Other small performances from Shawn Hatosy and The Sopranos' Vincent Pastore are excellent and memorable while Pat Briggs of the 90s shock-rock band Psychotica gives a wonderfully excellent performance as the sensitive, charming Luke. Ann Dowd is good as Claude's despondent mother who is trying to deal with her life as a single mom. Wilson Cruz of My So-Called Life is wonderful as Jesse who is amazed that Luke asked if he's gay while dealing with his homosexuality in the wake of Luke's murder. Cole Hauser is also great in an early film role as Mark, a guy who is definitely dangerous as he becomes possessive towards Ellen.

Leisha Hailey of the 90s band the Murmurs and more famously for her work in the show The L Word is lovely as Lucy. Hailey just lights up any scene she's in with her pink-hair and girlish personality as she represents the kind of love interest that Claude could definitely go for and is more understanding. Tara Subkoff is good in her role as Ellen though the character lacks development. Subkoff definitely sells her character's despair and troubles though at times, she comes off as a sick puppy. It's really more of the flaw of the script rather than Subkoff, who is more famous as a fashion designer for the Imitation of Christ line. The film's great performance goes to Allison Folland, who is known to audiences for her work in Gus Van Sant's To Die For and Kimberly Pierce's Boys Don't Cry. Folland's performance is complex and wonderfully written as her character grows into the discovery of her own sexuality. Even as she tries to figure out as who she is as Folland truly gives an amazing performance.

The film was released at the 1997 Sundance Film Festival to rave reviews among the gay & lesbian film community as well as the independent film scene. Receiving the prestigious Teddy Bear Award from Berlin Film Festival as well as several nominations including a Best Actress nod to Folland from the Independent Spirit Awards. While the film remains a cult hit and a centerpiece of 90s Gay/Lesbian cinema. Not much has been heard from the Sischel Sisters except a segment of If These Walls Could Talk 2 in 2000. While it's not a perfect film, All Over Me is still a charming, heartbreaking drama from the Sichel sisters as well as a nice film of the gay/lesbian lifestyle.

(C) thevoid99 2012