While staying at a secluded mansion, six young adults reveal their personal demons during an innocent game called Taboo. They reunite a year later, only to realize that one of them wants them dead for their moral transgressions.
Eddie Kaye Thomas,
When Frank and Julie move to a small isolated town with their son Sam, both Julie and Sam become ill. Driven by terrifying nightmares of torture that come true Frank begs a local midwife ... See full summary »
A decent but troubled young man is sent to a psychiatric institution for the criminally insane and soon finds himself in a fight for his life battling ghosts inside his head and very real enemies all around him.
Six years after an affair with the 15-year old daughter of the pastor who was his mentor, a former youth minister, now an ex-con and recovering addict, returns to his hometown seeking a ... See full summary »
A gay re-telling of Charles Dickens' classic Oliver Twist. Updated to current times, moved out of the poor house and onto the streets, the tale is told from the point of Dickens' character, Artful Dodger--now Dodge. The prosaically beautiful Oliver falls into the hands of down-and-out young men. Dodge takes the young man under his wing and instructs him in the unforgiving arts of drug abuse and prostitution. As Oliver's innocence dissolves, both young men confront inner and outer demons and, strangely, it is Dodge who finds he cannot escape his past.Written by
Sujit R. Varma
At the end of the film, Dodge pays a visit to Bill's place. His face is ravaged from the mugging of the previous evening. When he comes out of the house, his face shows no signs of the damage that was present when he entered the house. See more »
Dodge, you did real good today. Bill will be pleased.
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It goes without saying that updating and reinventing a classic tale is a minefield of potential mismatches, and anyone familiar with the original is disinclined to suffer fools gladly. In this case, even if the viewer tunes out Dickens, the best that can be said of it is that some of the acting (particularly Stahl) scores and the technical values are at least adequate.
Because none of the characters is fully developed, there is no opportunity to judge much beyond that. And because the plot is therefore weak and wobbly, the only thing left for comments is trying to find isolated bits of action or notions relating to one's own experiences. For example, I found the scenes involving heroin use strangely devoid of release, merely technical and prophylactic. In order for a screenplay to succeed, it needs to draw the viewer into the feelings of the actors. That happens only rarely here in spite of what one senses is good dramatic potential.
I think I'll stick with Dickens.
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