Director Jennifer Lynch has clearly inherited her father David’s ability to shock.
Surveillance (2009)
Tomatometer
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Reviews Counted:69
Fresh:38
Rotten:31
Average Rating:5.2/10
Consensus: This dark psycho-thriller from Jennifer Lynch, is violent, sharp and baffling, but not to everyone's taste.
Runtime: 1 hr 37 mins
Genre: Action/Adventure
US Box Office: $0
Synopsis:
It's been a hell of a day on the highway.
When Federal Officers Elizabeth Anderson (Julia Ormond) and Sam Hallaway (Bill Pullman) arrive at Captain Billing's office, they have three sets of...
It's been a hell of a day on the highway.
When Federal Officers Elizabeth Anderson (Julia Ormond) and Sam Hallaway (Bill Pullman) arrive at Captain Billing's office, they have three sets of stories to figure out and a string of vicious murders to consider.
One zealot cop, a strung out junkie and an eight year old girl all sit in testimony to the roadside rampage, but as the Feds begin to expose the fragile little details each witness conceals so carefully with a well practiced lie, they soon discover that uncovering ‘the truth’ can come at a very big cost… --© Magnolia Pictures
Starring: Julia Ormond, Bill Pullman, Pell James, Ryan Simpkins
Starring: Julia Ormond, Bill Pullman, Pell James, Ryan Simpkins, Michael Ironside, French Stewart
Director: Jennifer Lynch
Director: Jennifer Lynch
Screenwriter: Kent Harper, Jennifer Lynch
Producer: Kent Harper, Marco Mehlitz, David Michaels
Composer: Todd Bryanton
Studio: Magnolia Pictures
Reviews for Surveillance
Its mad killers may wear masks. But the real and cheap disguise here is the film's own -- an exploitation shocker trying to pass itself off as art.
Surveillance is a respectable murder mystery until its contrived 'big reveal' causes it to deflate faster than an inner tube that was just sat on by a morbidly obese person.
Jennifer Lynch, daughter of cinema's most celebrated weirdo, David Lynch, takes what could have been a straight-up slasher film and transforms it into a freak-fest that wouldn't look out of place on a double-bill with Lynch Snr's Lost Highway.
Lurching between crude comedy and self-conscious excess, Surveillance is just weird enough to keep your attention.
Two-thirds of Surveillance is taut and absorbing, yet the cheap third act twist feels tacked on from a lesser talent, say one whose last name rhymes with 'Pshyamalan.'
It's a fiendish little thriller, and undeniably sick, but you won't forget it in a hurry.
Although her tale involves wild-at-heart lovers racing down a lost highway, Lynch has created a whole different shade of black from anything made by her father.
Has solid acting, but offers very little in terms of suspense, intelligence and intrigue. It completely falls apart into an inane, contrived and perverse mess that leaves you with a bad aftertaste.
When Surveillance is good, it’s a gory, pleasurable ride. When it’s not -- it’s just gory. But more often than not, it delivers on the camp.
A wholly engaging partial misfire, if that makes sense -- a spare yet stylish marginal recommendation that connects due to its provocative premise and ruminations on violence, and the considerations that spawns.
Doesn't exactly leap off the screen as a diamond example of procedural crime busting cinema, but taken as the next professional step for Lynch, it's an efficient mood piece, setting out to unnerve and baffle, and achieving most of its goals.
Falls somewhere in between the somewhat tongue-in-cheek tone of Wild at Heart and the more au courant trend toward savage, nihilistic deranged-killer movies.
Surveillance isn't rewriting history, but it's a solid, entertaining third draft.
From the looks of her latest cinematic abomination, it seems Jennifer Lynch is doomed to forever be regarded as David Lynch%u2019s untalented daughter.
Nasty, brutish and not short enough, this is a muddled, unpleasant film that falls half-way between not very entertaining horror and not-as-smart-as-it-thinks-it-is arthouse.
Sorry to say it, but you can't help wishing Lynch - daughter of esteemed director David - had extended her 16-year wilderness period, because Surveillance simply sucks.
It’s a bleak piece of Americana with a twisted smile on its face. Sick, if you like, but there’s a real film-maker here and I’ve never seen Ormond and Pullman so effectively not be their usual screen selves.
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