Right At Your Door

If you have a fear of impending doom coming from the hands of terrorists, it’d be best if you stayed away from Right At Your Door. The premise of this film is a dirty bomb goes off in downtown L.A. and we see the subsequent fear and chaos that erupts in one particular home outside the city. Brad (played by Rory Cochrane aka Lucas from Empire Records) just moved into a new home with his wife Lexi (Mary McCormack) right outside downtown, presumably so Lexi could be closer to her job in the city. We get very little information in terms of background of the couple, as the movie begins with Brad making breakfast for his wife just before she goes into work. Not 10 minutes after she leaves, Brad hears the familiar tone of the Emergency Broadcast System interrupting the radio, but it’s not followed by the usual “If this had been an actual emergency…” This time it’s real.

The only real information Brad can get is that there has been multiple explosions in the city, from unknown sources, most likely terrorists. Unable to get ahold of his wife via phone, Brad attempts to drive to her office to pick her up and get her out of ground zero. He’s not the only one thinking such things, however, and Brad finds that the police have already started blocking off every street leading to the downtown area. Brad’s only option now is to go home and wait. And hope.

We watch as Brad seals up his home with every inch of plastic and duct tape he has, waiting until the last possible moment for his wife to return before he completely closes himself off from the outside world. Lexi arrives, but only after the ground is covered in ash and she is sealed out of her home. The big question comes, and you knew it would, whether Brad should open the door to let his (obviously) sick/dying wife inside and in doing so expose himself to the unknown threat outside or should he keep her outside and hope help arrives before it’s too late? Is there a right answer? How can someone even make a decision like that?

Right At Your Door preys on our biggest fears as citizens living in present day United States. It’s a contemporary horror movie that’s intense from start to finish. It was thrilling and eye opening, making me consider what I would do in a situation like that. My only issue with Right At Your Door was the ending. There was an over the top, unnecessary twist that took me right out of an otherwise realistic and believable film. Somewhat of a glaring defect when contrasted with the rest of the movie, especially because it’s the last feeling that I was left with. However, overall it’s a movie I would recommend to others and possibly even watch again myself. But like I said before, it’s probably not best for those already paranoid about such events happening as it will most likely only fuel your fears.


The Dark Knight **Minor spoilers**

I promised I’d be back with thoughts on The Dark Knight, but thesourgrapes wrote such a fine review I really wanted everyone to have a chance to read that before I stuck my two cents in to the mix. I agree with pretty much everything thesourgrapes had to say, so I’ll try not to be too repetitive here. But here are the things I loved (which will be immediately followed by those things I didn’t love).

1) James Gordon. Gary Oldman is the perfect James Gordon. Now while everyone had been getting their panties in a bunch over Heath Ledger and Aaron Eckhart, (not unreasonably) I linger on one of my most loved characters from the comic. I’ve always loved this cop who turns a blind eye so Batman can do his thing. Because Jim Gordon is a good guy. He believes in the law. But he’s also so broken by the corruption of his city that he allows Batman to operate as a vigilante. The relationship between Batman and Jim Gordon has always be the crux of what makes Batman’s story work–he’s endorsed and supported by the law. Which kind of balances out the fact that when you get right down to it, he’s a head case who bashes heads at night in Kevlar pajamas. So I loved that Gordon, the guy who legitimizes Batman, had a large and important role in this film and that Gary Oldman so effortlessly channeled the character. It was almost as if Christopher Nolan went to Gotham one day and recruited Jim Gordon to play himself.

Lt. Jim Gordon

Lt. Jim Gordon

And in parallel with Gary Oldman being perfect as Lt. Jim Gordon, I liked how much police work we got in the film. Batman is a detective after all. He debuted in Detective Comics and he is known as “the world’s greatest detective.” So I like to see him collaborating with the cops, bending the rules they can’t. That’s when Batman is at his best–doing all the dirty work. The film took Batman’s role as the police force’s heavy and took it to the extreme with, shall we say, an unsanctioned extradition. Fun.

2) Harvey Dent, Two-Face, Aaron Eckhart. Yowza. Okay. The script couldn’t have set up Harvey Dent’s fall any better. First off, I had no idea Two Face would play such a prominent role in the film. I kind of assumed we’d see him get burned at the end as a lead-in to the next film. I was hoping for that actually, because I hate how Batman films have traditionally over-used the rogues gallery. However, this film was roomy enough for two villains, and there is an exchange between Two-Face and Joker that is so perfect, I would never wish it away.

But the thing I loved about the Harvey Dent/Two-Face story as it was executed in this film is that, knowing how Harvey’s story ends, the audience can’t help but suffer from a suffocating sense of dread as Harvey is built up into the white knight of Gotham City-the one guy who can clean up the corruption. Pretty much everyone who goes into this film knows how Harvey’s story ends. And it is gut wrenching to watch this guy fall. It’s just what George Lucas was going for in the Star Wars prequels, but failed miserably to achieve: make our heart break because we know that sweet kid (and later obnoxious, whiny teenager) is going to become Darth Vader. What Lucas failed to do in three films, Christopher Nolan nailed in one. Every moment Harvey Dent is on screen is another moment for the audience to fall in love with him. And each one of those moments where we love him, and applaud his cause, adds to the terror that comes with knowing what he will become.

3) Joker. Nailed. Period. It’s a damn shame. We’ll never see Heath Ledger reprise this role. But movie viewers are lucky to have gotten this one film. What a talented guy. I’ll be honest. I didn’t like all of Joker’s mannerisms. I hated how he licked his lips constantly. I hated his voice. Those two things disgusted me. They were a turn off. But that’s okay. He’s Joker. He’s a psychopathic murderer. It’s okay if he disgusts me. It’s safe to say that Heath Ledger is most responsible for pulling off Joker, but credit also goes to Christopher Nolan and his brother Jonathan who gave Joker all the best lines in the film.

4) Joker was always one step ahead of Batman. There were so many moments in the film where you thought you knew what Joker was up to, but then each situation proved to have this little twist, much like a dagger twisting in one’s back. This is probably what I appreciated about this film the most. I’m a pretty cynical movie goer, because so many films are so darned predictable. But at least three times during this film, I found myself thinking, “Damn…didn’t see that coming.” That’s a pretty rare experience for me, and I relished it each time it happened.

Okay, a few things I didn’t love. And these are pretty minor. The first is something I kind of loved about Batman Begins, and that’s Batman’s gravelly voice. For some reason, when Batman was becoming the bane of the underworld in the Batman Begins, I liked that he was kind of growling at his prey. It worked, especially when his visage was made all the more terrifying by Scarecrow’s fear agent. But in this film, and it could just be the number of times we have to hear him talk like that, it seemed forced and unnecessary. It would have been creepier and more effective for him to whisper. By the end of the film his voice almost seemed comical.

I also hated the way most of the fight scenes were shot. Many of them were confusing, too close in to the action, and it was often difficult to follow what was going on. Although Christopher redeems himself a bit by flipping an 18-wheeler end over end. Glee!

Overall, I thought this was a great film. It was suspenseful, funny, chilling, and deeply sad all at once. The one thing I wonder is, what next? How can the franchise survive Heath Ledger’s death? I’m not sure recasting Joker would work. Joker is essential to Gotham mythology, and I just can’t see how to replace Heath Ledger’s masterful take on Joker. If someone is willing to attempt the part, I’ll keep an open mind. But Nolan decides to recast Joker, that actor’s going to have a hell of a time living up Ledger’s performance. I’m hopeful that we’ll get at least one more great Batman film out of Nolan and company. We’ll see.

24 Hour Party People

24 Hour Party People is a crazy movie and not quite what I was expecting. When I heard the title and saw the psychedelic colors on the cover of the DVD, I immediately thought trippy rave movie, (similar to Groove). And when the opening credits came on, it seemed like I was right. I’m not really into that type of movie (mostly because I’m not really into that type of lifestyle) but a friend highly recommended it to me and it stars Steve Coogan (as Tony Wilson) so I knew it couldn’t be all bad, even if it was about ecstasy and disco balls. As it turns out, 24 Hour Party People is not about raves (well, not at first anyway) and it is a fantastic, albeit weird movie.

Party People is about the music scene in Manchester starting in the mid ’70s, told from the point of view of Tony Wilson, the guy who kick started the whole scene. This film utilizes some elements that I don’t normally like in a movie but for some reason or other, they worked out really well in this instance. For example, Steve Coogan, the narrator and the main character, didn’t do a voiceover for the narration. Instead, he would momentarily take himself out of the scene and look at the camera, addressing the viewer. Normally, that comes off as hokey and gimmicky, but Coogan (especially as Wilson) is perfectly suited to do just such a thing. Also, Party People was such a hectic, fast paced movie that it was jumping in and out and all over the place constantly so it never seemed out of place when Coogan would do such unusual narration.

Generally speaking, this is a movie that doesn’t sit perfectly in any genre. It’s part music movie, part biography, part comedy, part drama, with lots of other parts thrown in for good measure. Director Michael Winterbottom (who recently did A Mighty Heart with Angelina Jolie) seemed sure enough of what he wanted, and wasn’t particularly interested in making it flow smoothly. The biographical parts seemed almost secondary to the story. When Ian Curtis of Joy Division killed himself, we’re hardly given any rhyme or reason as to why it happened (if you’re interested in the rhyme and reasons, check out the new Ian Curtis biopic, Control, directed by Anton Corbijn). I think what we see in the movie as “important” is only what was important to Tony Wilson or Michael Winterbottom. Such as all of the quick scenes of Tony Wilson (a reporter for Granada Reports) at various locations, shooting stories and interviews. My personal favorite is when he’s talking to some sheep herder who is actually yelling orders at a duck (“Go left!”) while shaking a stick at it. The duck obeys and then herds the sheep. It’s hilarious and out of place, like most of the scenes in this movie. But when they’re strung together, they seem to be cohesive in some sort of indirect way.

24 Hour Party People is certainly not for everyone. I recommend having an interest in music history, especially ’80s British music. That will help. Also, if you’re a big fan of Steve Coogan (and why wouldn’t you be?) then this here is a 2 hour Steve Coogan marathon. I also definitely recommend not watching this if you already have a headache (like I did) because it will only make it worse. That being said, if you’ve got any two of the three, then make haste and watch this movie. You won’t regret it.

Na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, na, Dark Knight!

Hello Internet world! I’ve never roamed into the blogger’s world before, but for The Dark Knight, I am prepared to do just about anything!

Still a bit blurry eyed from staying up until 3 am to finish the screening here at CinemaSalem, what I can tell you first and foremost is while the running time is long, it still felt too short. Why? Because it is FANTASTICANDWONDERFULANDSTUPENDOUSANDAMAZING, that is why.

It seems to me that there are many breeds of the Batman fan that each rank their loyalties differently. As far as I am concerned, I rank all things Christopher Nolan first, followed by Tim Burton, with any comic book falling somewhere between there and the Joel Schumacher nipple suit. Mind you, I am not a comic book reader (other than one Betty & Veronica comic that my great aunt Hazel bought me for my sixth birthday), but I only see it fitting to rank anything, whether or not I am familiar with it, above the nipple suit. However, despite my limited knowledge of perhaps the most devoted breed of Batman followers, such as my comrade Godzillamonster, I say worry not: you will love it. Even if you are a nipple-suit loyal.



It seems Nolan made a lot of stylistic changes, particularly to Gotham City, from Batman Begins to The Dark Knight (The suit changes, of course, go without saying). Gotham City isn’t necessarily its own distinct place this time around: The film was shot in Chicago, and frankly, looks like it was shot in Chicago. To this I say: good call. Particularly for Nolan’s whole “let’s not make this so absurd it’s completely unbelievable” route, I want to see a more grounded and relatable Batman story in a realistic setting—in a city that may as well be my own.

There also seems to me to be a pretty definitive thematic shift as well. As Godzillamonster has mentioned, Batman Begins was very much an introspective, explorative story that focused primarily on Bruce Wayne’s transformation into Batman. This is why Batman Begins is near and dear to my heart. I’m an Indie girl, through and through. I like a good amount of psychology in a film. I like reasons. I like those “oooohhhh! So that’s why he’s like that!” moments. Maybe for me, I want to know more about people first and foremost, and the rest just follows suit. I would say, then, that The Dark Knight, plays more like the Batman films of yore when compared to Batman Begins, with the storyline more centered around the villain than our hero. There is no background information provided to explain how the Joker became the twisted, scarred man he is.

After Batman Begins, I find myself hungry for character explanations, surely because Nolan does it oh-so-well. In this particular case, however, it seemed to work—the Joker’s schtick is he has no schtick. I can appreciate that. The Wicked Witch of the West was just mean…unless, of course, you count the whole Dorothy-stealing-her-dead-sister’s-shoes thing. But really, the Wicked Witch’s point as a character was to show Dorothy that life isn’t always nice, that there are people in the world who don’t want the best for you and want to see the good in the world fail for no good reason. That’s basically the Joker’s deal, too. And after Bruce Wayne’s deep involvement with Ra’s al Ghul’s journey towards destruction, it’s a lesson Bruce needs to learn, too.

All in all, this was the Joker’s story, not Batman’s. That being said, however, I wish the Bruce Wayne we grew to know in Batman Begins made more of an appearance in this film. Mainly, we saw Christian Bale as Batman, and whenever he was out of costume, he still appeared stiff and rigid. The Dark Knight, sadly, took away a little bit of Bruce Wayne’s humanity that Nolan worked so hard to establish in Batman Begins for me.

Another big change is Maggie Gyllenhaal stepping in for Katie Holmes in the role of Rachel Dawes. Yay. Don’t get me wrong, I love Dawson’s Creek just as much as the next twenty-something female, but she just fell flat the first time around. This was surprising to me, because I do think she is a good actress and makes good choices generally speaking. I gotta say, though, that I am not too sure Maggie was doing it for me, either. Her performance is respectable, to be sure, but I kind of wanted to light a fire under her at some points. However, I think this may have more to do with the role itself than with the abilities of the actresses: place an ordinary, pretty girl with lots of morals next to a brooding, pensive man in a bat suit and a lunatic with smiley-faced scars and of course she’s going to be boring in comparison.

And we can’t very well talk abut performances without gleefully cheering over Heath Ledger. Stupendous!! I have heard from more than a few people who have expressed either heightened interest or disinterest in the film due to Ledger’s death in January. It’s surprising to me to see so many people who plan on seeing the movie solely to “pay tribute” to the actor, or alternately, choosing not to see it because it would be “creepy” or “awkward” seeing an actor that has been dead for months in a brand new film (the latter statement still irks me—doesn’t every actor make the choice to create something that will remain long after he is gone?).

With so much of the publicity of this film focusing on the Joker, and in turn, Ledger, it was difficult for me not to wonder how I would react upon seeing him on the big screen. Would it put a somber mood on the film? Would it take me out of the moment? These worries, however, barely made it beyond the opening credits and never even came into play when Ledger first makes his appearance in the film. Why? Because I never once felt like I was watching Heath Ledger, the actor, playing a role. In a true testament to his talent, I indeed was not watching Heath Ledger at all—I was watching the Joker. After the screening, I wondered why I had let these thoughts enter my mind in the first place; if Ledger were still alive, I would have fully been expecting to be completely transported by his performance—why would that ever change?

In a perfect world, a film would stand on its own, regardless of the private lives of the people who helped to create it. This film deserves to stand on its own, as does Ledger’s performance. The Joker was by far my favorite part of this film—Ledger stole the show and deserves whatever recognition he may receive for the part. It is my sincere hope that no one ever questions the integrity of any academy that may choose to recognize his talents on this project.

Batman continues

Batman Begins 1-Sheet

Batman Begins 1-Sheet

In preparing for the movie everyone has been waiting for, this summer’s blockbuster extravaganza, The Dark Knight, I decided to pop Batman Begins into the old DVD player and get myself ready.

I should preface this whole thing by going back a bit. I’m bats for the Batman. Before I moved into my tiny apartment and no longer had room to store thousands of comics, I had about 1000 Batman comics. Probably a bit more. There has never been a paucity of Batman comics to buy. There’s the original series, Detective Comics, there’s Batman, Legends of the Dark Knight, Shadow of the Bat, Gotham Knights, Batman Chronicles, Superman/Batman, which all starred Batman. Then there were all the comics you could expect him to pop up in regularly–JLA, Batgirl, Robin, Nightwing, Birds of Prey, Catwoman, plus a bazillion mini series like Batman:Black and White, The Dark Knight Returns, The Long Halloween and Dark Victory. Then there are the one shots like The Killing Joke and Arkham Asylum. This list is NOWHERE near comprehensive–it is a mere sampling of the voluminous and ever-expanding opus that is the Bat Universe. Alas, I had to sell that comic book collection so that I only have one surviving long box of comics. About half of them have Batman in them. So that’s me and Bats. We go way back.

But this is a movie blog, not a comic book blog, so let’s go back to 1989, when Tim Burton’s film Batman came out. I was pretty excited for this movie. Batman was going to get the serious treatment he deserved. Okay. I’m sorry. Back to comics for a minute. This movie came out soon after Alan Moore’s Batman masterpiece The Killing Joke. This is the comic wherein Joker and Batman are taken beyond the level of hero and villain. They are men broken by their lives, who in their own ways, succumb to insanity. They are not so different from one another. I’ll never forget reading that book for the first time. There are quite a few moments in there that made me feel, quite palpably, like I’d been kicked in the chest. I don’t want to give any of it away, because if you don’t read comics, you should still read this one. It’s pretty short and there’s a nice hardcover version available on Amazon for twelve bucks or so. So, having been blown away by that book, I had a certain mindset going into Tim Burton’s crack at Bats and Joker.

I left the theater on opening night with a resounding “Meh.” I didn’t love it. Now, I do have to give the film props for a couple of reasons. That film did a lot for Batman’s live action image. He was undoubtedly a bad ass. All traces of campiness left over from the TV show had been erased. Gotham was gritty and dirty and dangerous. I have to give Burton his due because on a lot of levels, that film mainstreamed the comic book Batman of that era. But by the same token, Jack Nicholson’s Joker was pretty lame. I felt he was Cesar Romero with a dash of psychopath.

Cesar Romero as the 1960's Joker

Cesar Romero as the 1960's Joker

Jack Nicholson's Joker

Jack Nicholson's Joker

Maybe that was intentional. Maybe it was just a matter of not knowing how far to take Joker. But he seemed, frankly, soft. And he died! What?? You don’t kill Joker. I get that Bats has his rogues gallery, but Joker’s the big one. Joker’s his nemesis, his mirror image. So I wasn’t gaga over that film. The second Tim Burton installment to that franchise had a few kernels of awesomeness. Batman Returns featured Michelle Pfeiffer as a suitably sultry and devilish Catwoman, and the theme song was the stunning “Face to Face” by Siouxsie and the Bansheees.




And I love Siouxsie way more than I love Batman, so that was a happy synergy of love, ruined only by the ridiculous Penguin storyline. Every frame of that film featuring the Penguin was a disgrace. And I know I’m slipping into obnoxious fangirl mode here, but it just didn’t work for me. Penguin to me was always just a slick mob boss with a stunning collection of deadly umbrellas. Tim Burton’s deformed, psychotic Penguin robbed the character of all his charm. He was more or less just Joker dressed up like a Penguin. Not all of Batman’s rivals can be creepy looking psychopaths. And I guess that gets to the heart of why I hated that Penguin so much. He strayed into Joker territory.

Check out those teeth. Yuck!

Check out those teeth. Yuck!

The last two films in that franchise don’t bear mentioning really. I watched them opening night. And I enjoyed Jim Carey’s Riddler, but pretty much everything else was a train wreck. I could never figure out why there needed to be so many villains in each film. Freeze, Poison Ivy, Bane, all in one film. Really? Why? This is a film franchise, no? You’d think they’d be going for longevity. It’s also puzzling that Joel Schumacher managed to make two terrible Batman films. The guy’s made some good films in his day. At that point he’d done two big faves of mine–The Lost Boys and Flatliners. I also really enjoyed Falling Down. And he’s done some good work since–8 MM, Tigerland, Veronica Guerin. So really. What happened with his two Batman installments? Eek.

That finally brings us to today. Today is the day that I will have to suffer through watching The Dark Knight a day early to make sure the print is built properly and all the cues are working etc, so that we can have a smooth, catastrophe free midnight premier. Oh the hardships of managing a movie theater. And as I mentioned waaaaaaaaay back when this post began, I prepared myself for today by re-watching Batman Begins.

I don’t know if what I’m about to say is really possible. Because I loved Batman Begins when I saw it in theaters. But I think I under-appreciated it. I took it for granted. Because it was very nearly perfect. Exactly what a Batman film should be. On every level. Script. Design. Casting. Acting. I took it for granted because it looked so effortless. It’s just a great Batman movie. Period. It seems like a simple thing. But four other films stand out as reminders that making a good Batman film is NOT easy.

Also, I think it’s the most successful attempt at working a comic book character origin into a compelling action plot. (I always find the origin parts in comic book films a tad tedious. Which, as a side note, is one of the reasons I LOVED the new Hulk film. They showed the entire origin of the Hulk in the first 45 seconds of that movie and then moved on.) So one of the big successes of Batman Begins is that I know how Batman became Batman. Do I ever. I think most people know the broad strokes, even if they’ve never picked up a comic (although I could be totally wrong about that). But even so, I managed, for the first time in a Batman film, to become emotionally invested in Bruce Wayne as a character. I could sympathize with the simple accident that left the young Bruce with an intense fear of bats. I was immediately drawn into the relationship between Bruce and his father, who was so clearly devoted to his son, and a hero in a very different way than his son would eventually be. And you could see why Bruce would be so devastated by his father’s death, while also being driven to live up to his father’s example and make things better somehow. So in Batman Begins we get a real person who isn’t quite an average Joe–he’s heir to a billion dollar empire after all–but he’s a guy we can relate to nonetheless because he possesses the human frailties that plague us all: fear, guilt, grief.

By the same token, while we experience the process of Bruce Wayne becoming Batman, we are also given something equally important: the real Batman origin–the process by which Batman transfers Bruce Wayne’s fear of bats to the Gotham City underworld. We witness Batman becoming more than a vigilante. He becomes a symbol, a force. And that is the real origin story of Batman. By the end of that film, Batman has become iconic, mythic in his own world, not just in ours. And I hope the weight of Batman established in Batman Begins carries over to The Dark Knight.

And before I close, I’m just going to gush about Liam Neeson here for a minute while I have the chance. Yowza. I love that guy. Let’s face it. For the bulk of the film he was channeling Qui-Gon Jinn, but the guy has bad ass teacher down cold. And Ra’s al Ghul is not dead. I promise. KK. Moving right along.

Looking forward to The Dark Knight. I have great hope that Joker is done right in this film. Everything I have seen and read suggests that Heath Ledger succeeds on every level. I even heard, although I can’t remember where, so this might not be true, that Christopher Nolan based his Joker on The Killing Joke. So I’m really wound up and excited.

A few things I’m sad about. I wish Maggie Gyllenhaal had played Rachel Dawes in the first film for two reasons. Reason 1: Maggie Gyllenhaal is awesome! Reason 2: Continuity. It’s not going to kill the movie for me or anything. But in a perfect world.

Also, I wish Harvey Dent hadn’t been in the trailer, and even more than that, I wish we hadn’t seen him about to get burned in the trailer. Imagine how awesome it would have been to be a bit surprised.

And finally, I’m really sad that Heath Ledger is no longer with us.

I’ll be back tomorrow with thoughts on The Dark Knight.

August 22: What Should We Get?

At Cinema Salem, we might have an open week (8/22-28) to get a new indie film. It would definitely only be for one week, but it looks like we have plenty of options. Here are some trailers for ones I thought might be good. Do any of these look worthwhile or should we go for something else entirely? Any suggestions?


The Wackness

In Search Of A Midnight Kiss

American Teen

Son Of Rambow

Films that have children dominating the movie are a dime a dozen. The difference between all of those other movies and Son Of Rambow is that Rambow isn’t a kids movie. What was the last movie like this? Maybe Stand By Me? That was over 10 years ago. It’s prime time for everyone to see a whimsical story about a couple of British boys who want to make a movie.

First of all, let me assure you all that Son Of Rambow has (almost) nothing to do with that Sylvester Stallone franchise. Rather, it’s about a do-gooder named Will Proudfoot who accidentally gets caught up in bad-boy Lee Carter’s shenanigans. They form an unlikely friendship that mixes Will’s crazy imagination with Lee Carter’s equipment and know-how so that they can submit a film inspired by the original Rambo to the BBC’s Screen Test competition. The best parts of Son Of Rambow are when we get to watch Lee and Will perform all sorts of crazy stunts and watching this movie-within-a-movie fold out.

Son Of Rambow is a really solid movie. The acting is superb, it’s cute, funny, and very down to Earth. I can safely say it’s a film that many people would enjoy and I’m a bit surprised that it didn’t take off as well as I hoped it would. My guess is that it got overshadowed by all of the big Hollywood blockbusters. It had a limited release in the US the same weekend Iron Man came out and it probably just went downhill from there. That’s not reason it shouldn’t be seen, though. If it’s still playing in your area, by all means go see it. Otherwise, you’ll have to wait until it comes out on DVD in late August.