Sunday 20 Apr

Holy Ghost People

Holy Ghost People examines two sisters whose bond is torn — but by what? After her sibling has been missing for more than a year, Charlotte (Emma Greenwell, TV's Shameless) intends to find out.
04/15/2014 | Comments 0

No Holds Barred

RLJ Entertainment's new Blu-ray for No Holds Barred begins with what seems like dozens of trailers for movies starring pro wrestlers from the WWE talent pool. Each flick went direct to home video, but once upon a time — aka 1989 — one had to go to the multiplex to catch such a spectacle.
04/15/2014 | Comments 0

Knights of Badassdom

In 2008, the third act of the guy comedy Role Models used LARPing — live-action role-playing, that is — as a backdrop for our protagonists' lessons learned. Today, Knights of Badassdom extends that half-hour into a full feature, to the point where viewers are left not smiling, but exhausted. 
04/02/2014 | Comments 0

Switched on

Not everything on television has to appeal to mass audiences. In fact, with the further fractioning of viewership thanks to alternatives like Netflix and VOD, more series can afford to become more niche. Here are five examples of shows both past and present — and new to DVD and/or Blu-ray — that encompass some of the more outrageous ideas ever to go beyond boardroom discussion.
04/02/2014 | Comments 0

Confession of Murder

Seventeen years after slaying 10 women and getting away with it, the charismatic serial killer Du-sok (Park Si-hoo) comes clean with a Confession of Murder, in this 2012 South Korean crime thriller. He does so by publishing a book that dishes all the grisly details.
04/02/2014 | Comments 0
Home · Articles · Movies · Drama · Restless


Love means never having to say you’re sorry to the audience, judging from the doomed drama ‘Restless.’

Rod Lott October 5th, 2011

Once in a blue moon, a film comes along so aptly titled. Ladies and gentlemen of the jury, I give you Exhibit A: “Restless.”

As limp as overcooked spaghetti noodles, this drama has to be a low point in the ever-wavering, oftexperimental directorial career of Gus Van Sant (“Milk”), because it feels as if it were created by tweens rather than grown men. Van Sant has recruited actors who play their teenaged characters as if they were half that age.

At one point, Mia Wasikowska (“Alice in Wonderland”) notes the childish behavior, telling her new beau that he and his pal (imaginary, mind you) are “throwing rocks and acting like 2-year-olds!” Grow up, everybody. It’s too late before “Restless” rolls in locally, starting soon exclusively at AMC Quail Springs Mall 24, but the movie could use further incubation, starting with its quirky-for-sake-of premise.

Grow up, everybody.

“Seen any good funerals lately?” asks Annabel (Wasikowska, as Mia Farrow as ever) to Enoch (Henry Hopper, son of Dennis), whose hobby since the death of his parents has been crashing memorial services of total strangers, because I guess that’s just what teenagers do nowadays. The kids meet at one she’s attending for reals; they bond over board games and whatnot; and she reveals that she’s a cancer patient with little time left to live. He reveals he is haunted by the ghost of a World War II pilot.

All the while, a “True Romance”-lite score bubbles up and twinkles over the soundtrack, to swathe an added layer of unnecessary whimsy.

This is the kind of indie film that gives indie films a bad name: all twee and precious, cloying and dainty. The script may have been cobbled together from a morose high schooler’s journal: “Death is easy. It is love that is hard.” It certainly puts its characters into suspect situations, such as Enoch visiting Annabel’s cancer doc and demanding, “Make her better!” Such a scene might be pulled off by a more skilled actor, but young Hopper has none of the belly fire as his dearly departed dad; the normally talented Wasikowska shows a bad hand, playing Annabel as if she’s been kicked on the head by a horse.

Although Van Sant has helmed several thesps to Academy Award nominations and wins, he seems not to have wrangled these two, and “Restless” collapses as a result, under the unbearable weight of its false sentiment.

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