I thought this was depressing and brutal for brutality sake alone.
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
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.
Surveillance suggests 'Jennifer Lynchian' should be used for films that aspire to David’s moody, idiosyncratic genius and fall woefully short.
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.
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.
The pacing is so slow, you just want to yell out at the screen, "get on with it."
From the looks of her latest cinematic abomination, it seems Jennifer Lynch is doomed to forever be regarded as David Lynch%u2019s untalented daughter.
Surveillance is a crafty crime film with an involving setup and a ridiculous payoff, but there's enough here to make it worth a viewing at least on DVD or cable.
Jennifer Lynch, daughter of David Lynch, proves to be a chip off the old block in this tense, delightfully over-the-top police thriller.
Lurching between crude comedy and self-conscious excess, Surveillance is just weird enough to keep your attention.
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.
This crime-spree-procedural-with-a-twist isn’t evidence of a shockingly overlooked talent, but it’s watchable, in a gloating sort of way – although Lynch lacks any fraction of her father’s genius, she’s pretty good with her cast.
In this long-time-coming sophomore film, Lynch exercises powers of her own. She gets repellant, seductive, sympathetic performances from her actors. Ormond and Pullman are frightfully good at teasing intimacy.
None of the adult characters have any redeeming qualities, yet the filmmakers have managed to create something watchable despite delving into the blackest corners of human nature.
It is staggering to think that a film could be so horrifically nihilistic and so painfully boring at the same time, but Lynch has done it.
There are a couple of admittedly arresting images on display here and there--not enough to make this film worth watching but enough to make you hope that it doesn't take Lynch another 16 years to make another one.
Trashy material, arty approach, Lynch’s comeback is harsh, puzzling and mostly weird-bad.
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