Stephen King’s The Mist (2007)

I have a few spare minutes this bone-shatteringly cold morning of 2°F so why not spend it here with the people whom, and the blogs which, warm the cockles of my heart. I saw Stephen King’s The Mist this past Thanksgiving weekend, a film I honestly intended to skip if it weren’t for the review/recommendation of Star Tribune/Vita.mn/The Rake film contributor Colin Colvert; someone who’s opinion in the world of film is trending harmonious as of late. 

I’ll stop just short of saying The Mist completely works, it does skew a tad obtuse (refreshingly so?), but I wouldn’t hesitate to recommend it in an instant for a host of reasons: a tremendous sense of space in light of the setting’s size versus the number of actors, studious recovery when the subject matter drifts towards digression, and a great sense of pace are but a few from the macro column. It's very worth a theater viewing if for no other reason than how a massive screen and pummeling sound-scape facilitate the film's simultaneously claustrophobic & remote anxiety alongside impressive visuals.

What lingers, for me, and without being blasphemous, as it were, Mist enters the ominous halls occupied by films like Kiyoshi Kurosawa’s Kairo and the upcoming blockbuster-in-waiting I Am Legend, but unlike Kairo and more in line with 1998’s Deep Impact, (although nowhere near as effective imo), ‘Mist’ speeds past a genuine opportunity to drop a steaming heap of salvation. Darabont errs by squandering an opportunity to give auds a truly revelatory experience; why the need to protect? Who knows. Supposedly King whole-heartedly approved of the ending.

Having read only four of his novels (one novella, and not the story in question; all relatively forgettable) I can somewhat attest to his affinity for punting. The last thing is, I can’t shake the feeling that it ebbs & flows in ways a certain H. P. Lovecraft short story does; I re-read it to satisfy my curiosity.

Best Films Of 2007 (From What I've Seen)

"Once you quit hearing "sir" and "ma'am," the rest is soon to foller."

28.
30 Days Of Night
A phenomenal premise, but suspect execution. What saves the film however, and the reason it makes my top list at all, is the claustrophobic nature, and crisp, lush visuals. It's clear this was a video game platform written for film.

27.
American Gangster
A fairly melodramatic and cozy Hollywood production masquerading as a hard-nosed biopic.

26.
1408
It's here for some reason.

25.
The Number 23
I thought the film's revelation came much too late. Certainly after we've either figured it out or ceased caring.

24.
The Bourne Ultimatum
The deliberately smooth, yet ultimately anticlimactic wrap to a great series.

23.
Breach
My affinity for political thrillers may have worked in Breach’s favor here. Seems like a film which should have been released a couple years ago. Nothing objectionable and solid performances.

22.
28
Weeks Later
Would’ve been a tall order to top its predecessor; possibly a low-effort placeholder for 28 Months Later?

21.
Disturbia
I don’t care if what people say, despite being a total and complete spoof (if you will), it entertained!

20.
Eastern Promises
A mild disappointment. Have I been spoiled by Dostoevsky? Probably, but as I wrote before, the film somewhat collapsed upon itself under the weight of its own propriety. Sorry fans.

19.
You're Gonna Miss Me
Originally released at SXSW in 2005, You're Gonna Miss Me experienced a limited theatrical release this year, where most became acquainted with the melancholy look into the tribulations of shooting star turned burnt out institution-case Roky Erickson, founder of the mid-60's rock group The 13th Floor Elevators. In one scene, there’s a certain elegance and power when Erickson bangs out “Goodbye Sweet Dreams” ( a tune I hammered out on my acoustic thereafter for effect) for his brother and therapist during a session. Ultimately, a disjointed look at a broken human attempting to right his life.

18.
Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders
This documentary, to some success, sheds a cautionary light on the pitfalls of the modern credit crisis and the systematic abuse therein. A tad inflammatory on the whole (if you ask me), in the sense that it paints credit in the most bleakest of lights and with the broadest of brushes, yet its points are all the same honest and ring true. The Suzy Orman mention is priceless. Based on the book of the same name.

17.
The Lookout
It’s been a while since watching this one, and I failed to write anything at the time for reference, but I do recall thinking it borrows from Memento near the end, and the unresolved ‘injured friend’ tangent left me shrugging. It's a well made thriller & caper.

16.
Saw IV
If submitting Saw IV in front of Eastern Promises seriously jeopardizes my critic-cred, then so be it. Darren Lynn Bousman’s cockeyed chain of justice films continually fall a short of transcending its celluloid bonds, I think we all agree on this, yet I continue to hold out hope this series turns more assertive

15.
Bug
Outside of 2004’s Thai gem Shutter, Bug may be one of the best low–budget horror films to both improve as it progresses, and comes seemingly from absolutely nowhere to surprise auds. Judd is wonderful as a trashed hotel queen, delivering this movie in the palm of her hands... and the whites of her eyes.

14.
Inland Empire
I wanted to rate this higher, but to be completely honest it just wore on for about a half hour beyond my attention. Much latitude is deserved for its Mulholland Drive-like character study, and the phenomenally rubixed standpoint, and with just the right splash of 19th Century Eastern European fabledom.

13.
3:10 To Yuma
Despite the fact it’s a remake, and in the face of suspect motivations (plot devices), 3:10 To Yuma sustains on it’s own flesh and grit (much like Mangold’s pseudo-epic Copland); particularly Russel Crowe’s Wade, whose self interest rears its ugly head in surprising ways. All of them are brilliant — on the other hand, Bale’s' Evans is the hero we hold on high but despise in the presence of others; today’s loser.

12.
The Darjeeling Limited
Am I growing weary of Wes Anderson’s cutesy, darling screed of hipster wholesomeness and fatigued families? Almost there. Still, it was alright.

11.
Joe Strummer: The Future Is Unwritten

This eulogy/celebration of Clash front man John Mellor, famously known as Joe Strummer (a name he got for his lack of technical prowess with the guitar), and his rise and dissension in the realm of punk rock. Personally, I was quite unaware of The Clash for a long time, then again to this day I can only tag three songs, so I went into this wide eyed.

In one scene, Strummer recounts writing their most well known track London Calling as a reaction to the pressures exacted onto us by the media: ‘It was too much. It was always that a sickness would kill us all, or the sun was going to crash into the earth, or the country would be drowned by the melting ice…and here I stayed in a shit apartment next to the river! Of course his lyrics reflect precisely this. They recorded the album on their own (after firing the band's manager/label) and did so inside of three weeks.

10.
We Own The Night
9.
The Host
8.
Paprika
Some movies you just have to seen.
7.
Grindhouse: Death Proof
6.
The Taste of Tea
5.
Gone Baby Gone
4.
Zodiac

3.
Into The Wild

2.
Michael Clayton
All environmental issues aside, this is simply a magnificently acted/directed/written film. Nary a glitch, and it cuts a wide swath yet refuses to get sloppy. To many people's surprise, Clooney nearly disappears into this role, and that deserves mention because he’s one of those actors who tend to outshine their character to the detriment of the film concerned.

1.
No Country For Old Men
A parable for our time. A pre–War on Drugs recollection/essay on violent, indiscriminate crime and a cinematic masterwork on the measurement of life. An investigation of greed. A call to our fellow man. A modern day Grimm's tale. No Country For Old Men is all of these and more.

On a realistic note, yet on point, I read this morning in my local paper of a guy who entered the home of an elderly woman. As the elderly woman recounts, she was awoken as she napped in a reclining chair by a man who claimed he had discovered her purse — using the key to let himself in. In short order, before she could get her bearings, he demanded a reward. But when she demanded he leave, he responded by spraying her in the face with mace then beating her face until she passed out. Or I recall the closed caption video of a downtown Minneapolis sidewalk where three urban troubadours ran up on an elderly couple, beat them to the concrete for their purse and wallet, then proceeded in kicking them repeatedly for good measure. I instantly know these seasoned citizens, these parents and grandparents, would have much in common with the thoughts and struggles of Tommy Lee Jones’ Sheriff Ed Tom Bell, if not this film as a whole.

I know there plenty of people who haven’t seen this film, but there’s simply too much to say concerning this film. Mindful of this, I want to touch on is the comedic element, something I paid special attention to during my second viewing. Ed Tom Bell is a regular cut-up indeed, although what struck me was not the crowd reaction to the mannered country-fried witticisms, but at the times the film intended to be more somber — the audiences reaction seemed far too automatic, willing to laugh at discomfort than embrace it. The word desensitized comes to mind. The coup de grace might have been the brief, but uproarious laughter when Chigurh blasts Stephen Root's unnamed character in the face with a shotgun. Is Root simply a stereotypical funny man? Did Woody Harrelson’s jocularity soften our guard? I can say that I didn't break a smile. Did I miss something?

The film's esoteric ending lent just enough to ring true, but once again not for some. I overheard a woman commenting “is that it?” as the credits appeared.

Paradise Villa (2002)

O.k., where to begin? Oh, right...the premise. Considering what it is, it won't take long to set the stage. Paradise Villa opens in a gamers cafe (before gaming cafes were cool), filled to the brim with keyboard slapping teens. We settle on one kid, Sumusal, as his PC crashes. When he gets his game back online, his character has lost all of it's power and all of it's weapons. Or more precisely, they've been hijacked. This doesn't sit well with him.

The main stage is an apartment building packed with quite the strange array of tenants. We've got the building caretaker, the Parks, a young couple with a baby, an older couple that can't get along and the husband is apparently screwing around with another, younger tenant. We have a couple of porn-star wannabes, and many more. This is where our "protagonist" ends up later that day to look for the hijacker he only knows as Viagra. That's right, Viagra. The building's residents have turned their attention to the Soccer World Cup game between Japan and Korea, so they're completely oblivious as to what is roaming the hallways and stairwells.


** spoilers **

I can hardly fault Park for using such an attractive cast, but when one scene erupts into a full-blown, multi-position free-for-all, I wonder how seriously Park took the movie in the first place. Paradise Villa's owner, (also named Mr. Park) is summoned home by a couple of young peeping tom tipsters about his woman getting her freak on with another guy. Mr. Park busts in on them in mid crescendo and during a fray with the guy, Mr. Park gets crowned and dies. As this is going on, Sumusal is in some kind of trance as he's going from apartment to apartment looking for Viagra and also busts into a home and stabs a woman a few times in the stomach. That's only the beginning...

What's soon evident as the killing progresses is that all but the first couple can almost be attributed to his search for Viagra, Rather than being opportunistic, they're killing for the sake of killing...and it gets boring very fast. He begins to go to absurd lengths (as does the cheating couple) to perpetuate their respective courses of action. Here, it doesn't work at all. Instead of plot or character development (I'll acknowledge that there are too many characters to develop them), Park resorts with toilet shots and crude voyeurism to hold the viewer's attention . In one particularly confusing scene, Sumusal is well into his spree where he happens to kill one of the young residents who is retrieving a tiny camera that's been stashed to spy on his porn-star neighbor. As Sumusal sits there with the freshly dead kid, he asks it if he's Viagra. After he's dead! Then, through voyeuristic-style camera work on Park's behalf, proceeds to spoon the dead porn-star. You can't make that stuff up; nor would you want to. The movie wraps up as "Gamer Kid" hears a ring tone melody that snaps him out of 'serial killer mode'. He washes himself clean of all the blood and leaves.

** end spoilers **

Whatever message writer/director Park had in mind for Paradise Villa is completely buried by the sub-B Movie violence and sexual content. I can barely decipher what I construed to be a 'technology is corrupting youth' theme, but anyone would be hard pressed to believe Paradise Villa was trying to say anything at all. It does however receive good marks for a consistent time-line, generally decent camerawork and good marks for using the entire building as a set. That keeps things a bit fresher than they might otherwise be. The main problem is, again, that it's just "there". It takes itself too seriously to be considered a slasher, too dry to make it as camp (where it might have had a fighting chance), and too base to be considered drama. And it's not funny. It doesn't have a home. So I was left detached and unconvinced.

Infernal Affairs 2 (Wu jian dao 2, 2003)

Infernal Affairs II, the sequel (but actually a prequel) of Infernal Affairs, hits the ground running as we're given the untold story that precluded Infernal Affairs' 1997 beginning. It's the year 1991 and a young Officer Yan (played here by Shawn Yue) has been dispatched to more or less infiltrate his own family. You see, Yan's half-brother is Triad boss and all-around upstanding citizen, Ngai Wing-Hau (Francis Ng). Hau has been catapulted to head of the class because SP Wong (Anthony Wong Chau-Sang) has surreptitiously collaborated with a member of the Ngai Family's inner circle to have "retired" Triad Boss 'Uncle Kwan' murdered. After the assassination, the Triads are buzzing and the upper echelon bosses start to swarm and jockey for power. So to get everything back under control, Hau opens up a can of 'Michael Corleone' on the group, and one by one his problems go away. With the exception of Sam (again played deftly by Eric Tsang). Being one of Hau's closest compatriots, he barely escapes a meeting with some of Hau's associates while on a business trip for him in Thailand. Upon his return, Sam flips and talks to SP Wong about cooperating and the department puts him in a safe-house. This is where Sam has his first contact with an unfledged, but cagey officer named Lau Kin Ming. Ming (Edison Chen, A-1 Headline) makes the most of a few moments alone with Sam, at the safe-house with a team of officers, to create an opportunity for himself with Sam. And we see this come to fruition in Internal Affairs. There's plenty more than what's in this short recap, so don't be alarmed. It's not this cut and dry. The film ends on the cusp of the British hand-over of Hong Kong to the Chinese in 1997. A powerful turning point for Hong Kong in the film and in reality, as well as a good transition point for the film's characters into Infernal Affairs.

With Infernal Affairs II though, a majority of the movie struck me as a tad melodramatic. That may be due to the fact that it is a prequel. I knew the outcome of most every crucial character story-line the movie had to offer, which took most, but not all of the surprise and tension away from the start. But that only applies to the one's that we knew already. Where the melodrama helps is within the inter-Triad confrontations. Reason being, since most of the characters are new to us, the added dramatics and weighty camera work allows us to not dwell on that fact. The first third of the film readily acquaints with the new characters with a fast pace that requires our attention. Furthermore, we have in-depth looks into old favorites from Infernal Affairs; the tough road SP Wong takes to get where he is, Sam's rise to Triad Boss, a brief but effective glimpse of Ming's wife Mary (Carina Lau) and where she came from, and a few other nice additions.

One negative was the sometimes overbearing soundtrack, which I was surprised to find was a bit too eager in several places. Long tracks of dialogue were minimized and obscured by music playing simultaneously. Also, without Tony Leung and Andy Lau, the movie doesn't hit with the same magnitude as part one. But because it's essentially a preamble to Internal Affairs and provokes the viewer to recollect how each character fits, there's a built in fail-safe for the lack of "star power" to lead us. Internal Affairs 2 is it's own movie though, for reasons I mentioned earlier and because it covers essentially new ground. I would almost recommend that it be watched first because I do think it does a great job telling the back-story of Infernal Affairs. But it's clear (from flashbacks in part two and how it opens) that it is intended for a post-Infernal Affairs viewing. That, I would hate to mess with the originals brilliance by something possibly being spoiled. All that being said, a damn good companion piece to the original that is worth the time. Just don't expect to be blown completely away.

Kibakichi (aka Werewolf Warrior, Kibakichi: Bakko yokaiden, 2004)

In an attempt to diversify it's portfolio, MTI Studios along with it's newly born Saiko Films, threw together an inspired movie called Kibakichi, admittedly to gain some Asian Horror cred and cash in in the current success of the genre. This is the new label's first film. The studio's summary also appears on the Region 1 DVD. What it leaves out is that Kibakachi is standard B-movie fair. I had higher hopes for it.

The film opens with a deep, ominous voice; "A long time ago humans and monsters called Yokai, and nature lived in harmony without getting in the way of each other. But soon, men began to destroy the Yokai. Some fled to the mountains and some turned themselves into men, women, and the elderly to hide from the human world."

Now, there are obviously clear parallels in Kibakichi's story between world history's conflicting countries or populations within countries in man's quest for advancement or simply the ability to conquer and rule. Whether it's rooted, in the film's case (?), in feudal Japan's emergence into a more technologically advanced world (which I don't know a lot about, regrettably), or the Europeans going to America and taking land from the Indians, or even more contemporary instances, there's definitely a moral backdrop in Kibakichi. But such situations have taken place for thousands and thousands of years and in the end, it's the way the world has worked for just as long. So I tried to set that on the back burner while taking in the spectacle of Kibakichi.

The "spaghetti western" aspect of the movie is evident from the start. Kibakichi is strolling through a dry, grassy plain, while a group of bandits try to get the jump on him for some reason. The camera ping-pongs back and forth between sides and then, as if an homage to Sergio Leone, freezes on the blazing afternoon sun. Needless to say, Kibakichi will continue on his way that day. And similar to Clint Eastwood in his famous trilogy, Kibakichi, with reason, (as we find out later in the movie), will agree to extend his services to help pacify the village's turmoils. But unlike The Man with No Name Trilogy, Eastwood didn't encounter talking frog or turtle monsters on a narrow bridge leading into the tiny town. I'll have to check on that though. Kibakichi takes some sake at a pub and is quickly "recruited" to gamble at the local casino (for lack of a better term) and just like that, the meat of the story kicks into high gear. He sits at a long, low table to wager on a dice game that's based on an "even or odds" outcome. Many other patrons are also gambling , as well as enjoying the company of one of the many giggling geisha girls. It's not long before Kibakichi is raking in the cash and then suddenly pulled away from the table and asked by the village leader Onizo for his help as different factions of the region maneuver for respect and land rights. While other are more interested in recognition and power.

All in all, Kibakichi is a gutty effort from first time director and studio alike. It's well-rounded in it's mix of samurai fighting and monster mashing; along with a decent story. Even with it's flaws and the unexpected appearance of some modern weaponry, fan's of the genre shouldn't be left hanging. There's a little for everyone here. It's not exactly horror, as the studio claims (horror/action/fantasy). But I guess that depends on what you consider to be horror. I'd say it's closer to "slasher" if I were being pressed. And despite the often cheesy dialogue (ex. "Life is like a spot on a dice, we won't know until we shake it.") and freshman effort on the part of the director, which may have been a budget issue, Kibakichi wraps up nicely with some (literally) high flying action and ties up the story nicely as well. I don't think it's necessary to go into specifics here, especially with character names and individual motives because Kibakichi does jump around a bit and a couple very small plot holes left me wondering a little, but didn't distract me from enjoying it, somewhat. Kibakichi, I believe, is a love it or hate it type movie. Personally, I think it had an identity crisis. But I'll begrudgingly recommend it for it's uniqueness.

Infernal Affairs (Wu jian dao, 2002)

Infernal Affairs begins as young police cadet named Chan Wing Yan (Tony Leung) is being groomed by the highest ranks of the Academy to eventually become an inside man for the police. His keen eye and steady demeanor makes him the perfect candidate to infiltrate the Triads, who have taken control of Hong Kong's streets and are peddling massive amounts of drugs to it's citizens. At the same time, a different road is laid out for fellow Academy officer Lau Kin Ming (Andy Lau). Although we aren't witness to the actual path he takes, Ming becomes Yan's counterpart in the film, as he uses his position within the higher ranks of the police department to keep Triad Boss Sam a step ahead of any police actions. Sam is deftly played by Eric Tsang, who gives a highly effective, authentic performance here. What follows is one of the best table-turning, catch-me-if-you-can cop stories ever put to film.

Often compared with another great epic, Michael Mann's "Heat", Infernal Affairs is quicker, brighter and goes down in 40 minute less time. It's apparent why this film became a smashing success in Asia and in turn, exploded onto the world scene. Spawning a sequel (which is actually a prequel) and then a third installment.

Returning to the story; Yan, after leaving the Academy and subsequently earning his chops
on the street as a Triad footman for 10 years, becomes a member deep in Sam's inner circle. Yan continues to work directly and exclusively with Superintendent Wong (played by Anthony Wong) feeding him information that Wong puts to good use. He brings that information to his most elite police team led by Officer Ming, who unbeknown to Wong, relays it back to the Triads. Ming showcases his moxie and stealth inside an active command center, feeding police channels and locations to Sam in real-time, within five feet of fellow officers. Yan, at the same time, finds a way to keep Wong informed. A brilliantly scripted Felix Chong & Siu Fai Mak screenplay lends weight, tension and gravity to even the simplest scenes. Finally, Wong is able to get Sam brought in to be interviewed, but by that time, they both know that each has an undercover man inside their particular camps. In a Pacino/DeNiro-esque face-off, Wong and Sam smugly challenge each other to find their respective moles. The rest of the film is yours to enjoy.

One aspect of this film that gets as much attention and kudos as the characters themselves
is Chan Kwong Wing's stellar, powerful, moody soundtrack. The original score begins the
film along with sweeping, abstract visuals that flow gracefully across the screen, accompanied by the undulating score. What stuck with me in particular (as a first time listener to his work) was the alternately light, then heavy drum tracks as they scurried from front to back, left to right, left-rear to right-rear and diagonally back; washing the entire room with energy and life. The mood shifted from forceful grandeur to intricate suspicion and back again. The perfect audio preview to what was to follow. Deep inside the film is a heart-wrenching female vocal track that seems to signal the true beginning to Yan and Ming's respective gambits toward finding out each another, and when she sings again, yet another chapter begins to take shape. It's brilliant in depth and scope. Never a track out of step with the film and only the most appropriate volume and energy. So rarely does a soundtrack fall into line and dance so well with a film. So rarely does one set the tone for a film.

Infernal Affairs is loaded with subterfuge and intrigue. We're privy to both sides of the proverbial infiltration equation from the start, but this formula gets more complex with near misses and natural character evolutions, even as the story itself appears to begin it's resolution. At least that's what I found. There is a touch generic cop vs. cop to it (if I must find a flaw), with a couple classic stand-offs, but very little mano-a-mano conflict. The film's confrontations are wholly group against group; good against bad. That can't be ignored. The beauty of the film is in the interaction. It has all of the elements of many crime dramas, but Infernal Affairs is genuine and sophisticated like none other.

The Return (Возвращение, 2003)

Andrei Zvyagintsev's temperate thriller The Return portrays a mother and two sons living their seemingly unaffected lives, when, without warning, the man of the house (a resolute performance from Konstantin Lavronenko) returns. We as the audience are clueless to whether the mother (or for that matter the live-in grandmother) anticipated his return, but it's apparent that the two boys, Ivan (Ivan Dobronravov) and Andrei (Vladimir Garin), are taken by surprise. What is clear though is the boys initially resist their new father's regimented philosophies — a stark contrast to mom's. Slowly, the boys warm to their father but remain somewhat cautiously distant during an impromptu fishing trip. The remainder of the film puts the father-son relationship under an unequivocal gaze when the boys are tested along the expedition.

The Return's starkly constructed world smacks of a grim post-WWII shiftlessness, but this is most certainly a timeless, even allegorical tale. A lingering tension concerning the father's motivation seeps to the surface and is bolstered by the children's confusion and wavering allegiance. Filming in extreme northwest Russia near St. Petersburg, on and around Lake Ladoga — (in a tragic twist, the young actor who plays the eldest son, Andrey, drowned in this very lake shortly before the film premiered). Zvyagintsev chooses a befitting and picturesque locale to strengthen the personal conflicts in his humanistic masterwork. The region seems to smile wide and we're treated to lingering, poignant portraits throughout. At times this breadth of dimension and sparse dialogue struggles to invigorate, its smoldering fraternal conflict weighs heavy early on, but there's a method to this approach. A superabundance of symbolism, a mainstay in Russian storytelling, and references to powerful religious artwork, only adds to the visual buffet. One can't not be satisfied. It's simplicity lends to its extravagance.

Buddy Boy (2000)

Buddy Boy tells the tale of Francis, a stuttering, timid guy who's saddled (for all intensive purposes) with the responsibility of living with, and taking care of his super-religious but feeble, alcoholic step-mother. The reality seems to be that he's willing to do so. In fact, Francis and his mother are steeped in religion. Francis carries her on his back to and from church regularly and the Pastor visits their dingy, hole of an apartment every once and a while. He's bent on fostering Francis' beliefs in the church, or more specifically, asking him to attend Confessional more often (which the pastor seems to get a rush from).

One day, Francis comes home to find his step-mother lying unconscious in the kitchen with an empty bottle of glass cleaner clutched in her hand; somehow, later, (thanks to a high tolerance I'm sure) she wakes up. They go to church to repent. At one point, Francis is taking out the trash (no, not his step-mother) where he drops the arm-full of garbage down some stairs and manages to discover a knot that falls from a wooden wall behind the apartment building. He peeks out the knothole and sees that it looks directly into the apartment building across the street, more precisely, into the seventh-floor apartment of Gloria (Emmanuelle Seigner, also from The Ninth Gate). He notices the lights going on & off as she moves through her apartment, where she ends up in her bedroom. He a little intrigued to say the least. The next night, he returns to the knothole to find her having a party of some sorts, and after everyone leaves, she, again, moves to her bedroom. This time she appears blue and dispirited, despite the lively get-together. A third visit to the knothole produces the vision of Gloria feeling her breasts, followed by a bit of self-gratification. Francis is intrigued, but he's much too weighed down by life in general to think of these visions as anything but a passing novelty. Then one night as he's returning from work, he sees a woman getting mugged down the street from his building and he shouts out; the attacker runs away and he approaches the woman to see if she is o.k. and finds it's the woman from the apartment. Gloria seems to see something in Francis after they make their introductions, so much so that she proceeds to make several attempts to get together for coffee or dinner.

But nothing is ever what it appears, especially when it comes to complete strangers. Neither has a full idea of the others' lives in total, and the rest of the film in dedicated to letting each of them discover this, or to let their imaginations run wild... one of the two... or both.

Buddy Boy certainly doesn't run from the issues it starts. Be it how Francis deals with the growing burden of his bible-thumping, vulgar step-mother who smokes crack and drinks like a fish, only to play the 'sanctimonious card' when Francis strays from the flock, as it were. Religion is the main issue the movie deals with. The "how can a loving God allow such suffering" argument plays out to a point where Francis screams in his step-mother's face a multitude of blasphemies such as that "God can go fuck Himself" and that he hates everything to do with the church. His step-mother begins to pray. The other main issue is, (well I don't really know if it is this exactly), trust in another person. His relationship with Gloria becomes fraught with mistrust, lies, forgiveness, jealousy, obsession, and a multitude of other factors. On the part of both Francis and Gloria. Things get more complicated with the relationship and at home, but that will be something you'll have to see for yourselves. There's plenty more. In the end though, the twisting main plot and the surrounding story-lines (some of which don't completely pay off) combine for a somewhat disjointed experience. I like it, but even as 'real' as the feel is at times, I couldn't quite sink into the movie and consider it afterward. I kept going in & out of it. For all I know, it was meant to be that way.