Revenge is less than sweet, to say the least, in particular for the audience, veering between sickening and pathetically pornographic.
Descent (2007)
Runtime: 1 hr 50 mins
Theatrical Release: Aug 10, 2007 Limited
Synopsis: Rosario Dawson produces and stars in DESCENT, a project directed by her real-life friend Talia Lugacy, and one close to the actress's heart. A very dark film, DESCENT assures viewers from the very first frame that something is going to go wrong. There's just something off about the colors, the... Rosario Dawson produces and stars in DESCENT, a project directed by her real-life friend Talia Lugacy, and one close to the actress's heart. A very dark film, DESCENT assures viewers from the very first frame that something is going to go wrong. There's just something off about the colors, the sets, the slow-moving dialogue. Many critics have said the film begins with Dawson as a carefree college girl navigating the fun, party-filled world of college. But Dawson's character, Maya, is not your typical sorority girl. Instead, she's a smart, serious student who spends much of her time alone and has apparently not had a date in months. So when a good-looking guy named Jared asks her out and will not take no for an answer, she reluctantly accepts, having no idea that their short-lived romance will culminate in his date-raping her in a basement. DESCENT is about revenge and also about the downward spiral that a young woman endures as a result of being sexually violated. Rather than telling anyone about the rape, Maya keeps it to herself, transforming step by step into a girl unlike the one she was before. Trading in her studious ways for a lifestyle of nightclubs, drugs, and risky sex, Maya blames herself for what happened and seems intent on self-destruction. Lugacy's film spans several months but inches along at a slow pace due to the simplicity of the plot. The majority of the film's drama takes place inside its protagonist and in the final revenge scene. The film's final take will prompt discussion among viewers, who are left to interpret whether revenge itself can actually heal wounds or just open new ones. [More]
Genre: Dramas
Starring: Rosario Dawson, Chad Faust, Vanessa Ferlito, Wilson Jermaine Heredia, Tracie Thoms
Screenwriter: Talia Lugacy, Brian Priest
Producer: Rosario Dawson, Morris S. Levy, Talia Lugacy
Composer: Alex Moulton
DVD Info
Release:
Feb 8, 2008
DVD Features:
- Region 1
- Keep Case
- Full Frame - 1.33
Audio:
- (Unspecified) - English
Reviews
Dawson, armed not with a whole lot of dialogue but her endlessly eloquent face, makes each note of the character's journey pierce, whether with pain or ecstasy.
It's been a while since we saw a demagogic feminist exploitation revenge drama, and Descent, while top-heavy with 'agenda,' is shrewdly done.
Though a clearly gifted new filmmaker, Lugacy doesn't get a handle on the combustible material, and she gets scalded in the process.
Ugliness of story, character and technique cannot hold a movie audience and do more harm than good towards seeking a professed corrective.
A hollow fabrication in the pursuit of someone's sick idea of redemption. I didn't pay to see it... but I want my wasted time back.
There's too much arty writhing and too little concrete character development.
Look-at-me-I'm-a-filmmaker photography, pacing that has all the thrills of waiting in line at the post office and an utterly predictable plot combine to make the movie even worse than the hacky chick revenge fantasy now showing on channel 186 of your box.
No moviegoer has done anything to deserve the images that director Talia Lugacy would throw in their face.
[Dramatizes] the experience and the psychological aftermath of rape with a vividness I’ve never seen in an American film.
Descent is the head-slappingly awful picture that turns rape into a comedy.
The movie is just a vicious, pathetic excuse for Lugacy to live out her own twisted hate-fantasies on the big screen.
There's a potentially groundbreaking story lurking somewhere in Descent, but it stops at the revenge, thereby robbing us of what might have been a vitally important moviegoing experience.
Apart from its obvious exploitation element and disjointed second act, the movie achieves a cool momentum by sheer force of the intimate power play that takes place over the course of a slow build-up toward its sex-schock finale.
It's a lot like a '70s exploitation movie, with its determination to seduce and shock the viewer with alternating currents of electrical stimulus, and its weird combination of arty arch-decadence and neo-Victorian moralizing.
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