Victoria Westhead Movies

A young boy comes of age in rural Georgia during the 1940s in Terence Davies' challenging, visually powerful drama. Acclaimed for his nostalgic, beautifully photographed reflections on England's past (The Long Day Closes, Distant Voices, Still Lives), Davies looks beyond his home country to America with this adaptation of a novel by John Kennedy Toole, author of A Confederacy of Dunces. The film is told through the eyes of David (Jacob Tierney), a teenage boy struggling to deal with life in a troubled family. He reflects on his youthful experiences of his father (Denis Leary), an abusive, impoverished worker who disappeared during World War II after enlisting in the army. David is left to care for his increasingly unstable mother (Diana Scarwid) with the help of his Aunt Mae (Gena Rowlands), a lively big band singer. With David's recollections making up the loose plot, The Neon Bible stresses memorably intense images over narrative momentum, with cinematographer Michael Coulter creating sharp, painterly compositions. Some viewers will likely be frustrated by the slow pace and elliptical style, though others may be transfixed by the often stunning photography and poetic approach. ~ Judd Blaise, All Movie Guide

Love Crimes, an erotic thriller directed by Lizzie Borden, explores the psychology of a con man posing as a photographer, who seduces women and then blackmails them using humiliating, revealing pictures he has taken of them. David Hanover (Patrick Bergin) preys on the hopes of women by offering them love and a possible career as fashion models. When some of the women complain, but refuse to aid in Hanover's prosecution, DA Dana Greenway (Sean Young) becomes obsessed with catching Hanover, to the point where she tracks him down and spys on him in his secluded home, making herself a potential victim. He catches her and holds her captive. Feminist filmmaker Borden, who also directed the remarkable, low-budget film Working Girls, raises interesting questions regarding sex, humiliation and male-female relationships, but the film is spoiled by the ambiguity of her central character, Dana. An abused child herself, she has the same self-loathing that the other woman who are preyed upon by Hanover possess, but her motivations for her actions remain murky. Despite these flaws, Borden, always an interesting filmmaker, raises important issues which perhaps can't be adequately resolved using the restrictions of the thriller genre. ~ Linda Rasmussen, All Movie Guide

In this lively comedy, an African American yuppie rethinks life on the corporate fast-track after he falls in love with an ultra hip club promoter. Knowing that she finds him a total square, he seeks the advice of a swinging young mail boy. ~ Sandra Brennan, All Movie Guide