It’s remarkable what packaging can do for a film. In 2018, filmmaker Veena Sud’s second feature film bowed at the Toronto International Film Festival in the starry Galas section — other Galas that year included “First Man,” “A Star Is Born,” and “Widows” — where its heavy subject matter and high-profile placement seemed to earmark the drama as a contender to watch. First filmed under the title “Between the Earth and Sky” and based on a chilling German drama called “We Monsters,” the film promised to explore the psychological fallout of a horrible crime and the corrosive power it inflicts on a crumbling family. Sud had also locked in an exciting cast, including Joey King (pre-Emmy nomination), Peter Sarsgaard, and Mireille Enos, all the better to beef up its seeming gravitas. In short: it sounded good.
Two years after an unimpressive showing at TIFF, “The Lie” finally gets a release, rolling...
Two years after an unimpressive showing at TIFF, “The Lie” finally gets a release, rolling...
- 10/6/2020
- by Kate Erbland
- Indiewire
Release Date: June 26 (limited)
Director: Jennifer Chambers Lynch
Writers: Kent Harper and Jennifer Chambers Lynch
Cinematographer: Peter Wunstorf
Starring: Julia Ormond, Bill Pullman, Pell James
Studio/Run Time: Magnolia, 97 mins.
A pulpy, conventional thriller
By the time Surveillance comes to its unhinged, ludicrous finale, it’s hard to tell exactly what’s just happened. Directed by Jennifer Chambers Lynch (who, it’s obligatory to note, is the daughter of David), the film’s setup is pure whodunit convention: Witnesses to several nasty murders recount what happened through flashbacks at a police station. More difficult to pin down are Lynch’s curious instincts as a filmmaker. Her first feature, Boxing Helena (1993), was so disastrous she hasn’t made another movie until now, but she returns with a new off-kilter playfulness. Comfortable behind the camera, Lynch riffs on noir influences with an inquisitive visual style that often drifts from the plot at hand.
Director: Jennifer Chambers Lynch
Writers: Kent Harper and Jennifer Chambers Lynch
Cinematographer: Peter Wunstorf
Starring: Julia Ormond, Bill Pullman, Pell James
Studio/Run Time: Magnolia, 97 mins.
A pulpy, conventional thriller
By the time Surveillance comes to its unhinged, ludicrous finale, it’s hard to tell exactly what’s just happened. Directed by Jennifer Chambers Lynch (who, it’s obligatory to note, is the daughter of David), the film’s setup is pure whodunit convention: Witnesses to several nasty murders recount what happened through flashbacks at a police station. More difficult to pin down are Lynch’s curious instincts as a filmmaker. Her first feature, Boxing Helena (1993), was so disastrous she hasn’t made another movie until now, but she returns with a new off-kilter playfulness. Comfortable behind the camera, Lynch riffs on noir influences with an inquisitive visual style that often drifts from the plot at hand.
- 6/26/2009
- Pastemagazine.com
Calling up comparisons with her celebrated father David may be too easy a jumping-off point in addressing Jennifer Lynch’s new film Surveillance, but it’s an unavoidable one—especially given that David is credited as an executive producer. But the younger Lynch comes into her own as a filmmaker with this movie (currently available via video-on-demand and beginning limited theatrical play from Magnolia Pictures this week), which should also dispel any lingering memories of the hostile reception that greeted her debut feature Boxing Helena over 15 years ago.
Superficially, Surveillance’s setup resembles that of Twin Peaks, with the beginning of an FBI murder investigation in a rural area teeming with odd folks. But as opposed to that eponymous lush Pacific Northwest town, the movie is set in a barren part of the Midwest (actually lensed in Saskatchewan, Canada), and whereas most of the eccentrics in David’s seminal series were viewed sympathetically,...
Superficially, Surveillance’s setup resembles that of Twin Peaks, with the beginning of an FBI murder investigation in a rural area teeming with odd folks. But as opposed to that eponymous lush Pacific Northwest town, the movie is set in a barren part of the Midwest (actually lensed in Saskatchewan, Canada), and whereas most of the eccentrics in David’s seminal series were viewed sympathetically,...
- 6/25/2009
- by no-reply@fangoria.com (Michael Gingold)
- Fangoria
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