If you find dense, self-conscious mystification decorated with all kinds of fashionable postmodern gimmicks more than a bit annoying, best to look elsewhere.
Dot the I (2005)
Tomatometer
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Reviews Counted:59
Fresh:15
Rotten:44
Average Rating:4.6/10
Consensus: dot the i starts out as a standard love triangle, but last minute revelations turn the movie into a gimmick.
Runtime: 1 hr 32 mins
Genre: Romance, Music (General), World Music
US Box Office: $0
Synopsis: dot the i, a romantic thriller with a dark comedic twist, stars Gael García Bernal, who shot to fame in AMORES PERROS (Best Actor, Cannes Semaine de la Critique), Natalia Verbeke and James D'Arcy.... dot the i, a romantic thriller with a dark comedic twist, stars Gael García Bernal, who shot to fame in AMORES PERROS (Best Actor, Cannes Semaine de la Critique), Natalia Verbeke and James D'Arcy. García Bernal, also known for his role in Y TU MAMÁ TAMBIÉN, can currently be seen in THE MOTORCYCLE DIAIRES, Golden Globe nominee for Best Foreign Film. Natalia Verbeke has recently starred in the Oscar®-nominated SON OF THE BRIDE (EL HIJO DE LA NOVIA) and the BAFTA® awardwinning JUMP TOMORROW. Rounding out the cast is James D'Arcy, known for his role in Peter Weir's MASTER AND COMMANDER. dot the i is the debut feature from director Matthew Parkhill, an award-winning novelist and screenwriter. A sexy love triangle forms on the eve of her wedding when Carmen (Verbeke) recklessly kisses an attractive stranger named Kit (García Bernal). Having recently fled a violent and volatile relationship in Spain, Carmen has found comfort and safety with her adoring fiancé Barnaby (D'Arcy); but her passions are aroused by one kiss from Kit and she is immediately torn between her emotions and her loyalty to the man she is to marry. Carmen's journey teaches her that things, and people, are never quite what they seem. This thrilling tale toys with illusion and reality, passion and artifice, and takes audiences on a suspenseful race through the streets of London. dot the i, an Arcane Pictures / Summit Entertainment Production filmed entirely on location in London, is produced by Meg Thomson and George Duffield. Summit Entertainment financed the picture and handles worldwide sales and distribution, with the exception of Spain. Alquimia Cinema is the Spanish co-producing partner. -- © Summit Entertainment [More]
Starring: Gael Garcia Bernal, Natalia Verbeke, James D'Arcy, Charlie Cox
Starring: Gael Garcia Bernal, Natalia Verbeke, James D'Arcy, Charlie Cox, Tom Hardy
Director: Matthew Parkhill
Director: Matthew Parkhill
Screenwriter: Matthew Parkhill
Producer: David Garrett, Erik Feig, Patrick Wachsberger
Composer: Javier Navarrete
Studio: Summit Entertainment
Reviews for Dot the I
Even when you don't believe what Bernal and the effervescent Verbeke are doing, it's fun to watch them do it.
Inflicts great pain on the audience by wringing its plot into a bruised and pulpy mass.
Cross 'Dot The I' off your viewing list...crosses the boundary of implausibility so often and so blatantly that it winds up being absolutely laughable.
Dot the I doesn't suffer from a lack of skill. Rather it becomes a lesson in the pitfalls of moviemaking that runs on cleverness and too little else.
It plays like the last paragraph of one of those Encyclopedia Brown stories, where the solution is an unknown twin brother or the wrong-sized footprint.
Dark, funny, quite a thriller... It's a forgettable title (that doesn't work in English), but you won't forget the wicked fun of the movie.
Parkhill flips on the plot twist machine, and Dot the I becomes excruciatingly ridiculous in a multitude of ways.
The movie not only scatters undotted Is and uncrossed Ts in its wake, but unsquared circles, unfactored primes, unrisen souffles and unconsummated consummations.
At times it's a romantic comedy, at others it's a dark thriller, and sometimes it's a mangled crash of elements.
If Dot the i, the directorial debut of Matthew Parkhill (who also wrote the screenplay), has a crass visual flash, it fails to give its characters any credible substance.
Far too clever for his own good, Parkhill has fashioned a Chinese box of a story where the first twist sets up a second, that one sets up a third, and so on.
Begins as a romantic comedy, turns into romantic thriller, then collapses into a sick and illogical self-reflexive noir. If this sounds even vaguely exciting, I promise it's not.
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