User Reviews

Stan (Scott Cohen) is a hit man hired by the mobster Dad (David Provel) to kill Rick (Henry Czerny), the husband of Jay (Angela Bettis). While waiting for his final instructions from Dad in a low budget hotel, Stan is visited by Jay, who begs for the life of Rick. He breaks his own rules and explains that only Dad may break his contract, and Jay decides to visit Dad in his night-club to claim for Rick's life. After meeting Dad, Jay comes back home to Rick, when secrets are disclosed.

I bought this DVD without any previous reference, just based on the name of one of my favorite actresses, the stunning Angela Bettis. "The Circle" is simply spectacular, an unique experience of pure independent cinema as art, disclosing an intriguing and disturbing story in an environment nightmare and shot in only one take in real time. The logistic of the script, planning routes and rehearsals necessary to make this film would be enough to give a ten to the writer, director, cast and crew. In 2003, Lars von Trier presented to the world the sensational and original "Dogville", a bitter play about a town with disgusting dwellers with an awesome story of human exploitation and pay back. Yuri Zeltser gives this unknown masterpiece of experimental cinema, with a great tale about sinners trapped in the purgatory (or maybe in hell - in this case, Dad certainly is the devil). Every character is actually dead: Stan and Jay committed suicide or died through lethal injection; the cop, Hilga and Rick were shot; Dad was ill; Mom probably had an OD and Sing probably was murdered by Dad. Angela Bettis deserves an Oscar for her performance, and the cast has magnificent interpretations. The camera is fantastic, following the characters uninterruptedly through the most difficult angles and situations. Last but not the least, this film is highly indicated for movie lovers that aim to see a refreshing and absolutely original edition of a film. My vote is ten.

Title (Brazil): "O Círculo da Morte" ("The Circle of Death")

This film was absolutely fascinating. To pull off an entire movie in one continuous shot seems an unattainable feat, but Yuri Zeltser conquers it masterfully. The amazing part of this story is that I didn't notice it was unedited until I read the back of the DVD case - then I went back through the movie and was astonished by the direction and camera work throughout the one-and-a-half hour film. The fact that it was an action/drama even makes it more astounding because these movies often require the most takes. It is a sharp, intelligent and suspenseful tale that plays out like dream. A dream in which the main character, Angela Bettis can't wake up from and turns out to be a horrible nightmare in the end. David Proval also was impressive in his role as a contract killer with a rough edge, but a soft side that shines through with the help of Angela Bettis' character. This film has earned my recommendation and will surely surprise you as film unravels.

I've noticed in the past that movie-watchers tend to be very loyal to their genres and that when a movie crosses genres, as this one does, it tends to provoke a hostile reaction from a certain segment of the viewing public. The problem is that this movie appears to be an action thriller, but it isn't one at all. Not to give too much away, but it's actually a supernatural drama. (And when the genre of your movie is a spoiler, that's a bit of a marketing nightmare!) Certain reviewers have criticized this movie for being a bad action thriller--which makes sense because it isn't an action thriller. Others have assumed that the movie simply lost its way, when it has been very carefully crafted from the very first second (looking into a mirror) to be exactly what it is. Much has been made of the no-cut technique as if it's a gimmick, when it is in fact integral to the story. A cut in a movie, more than anything else, implies a jump in time, but time is a metaphysical impossibility in this movie--hence the comments about being punished for what will happen later and the protagonist's frequent musings on whether she has met these characters before.

Some have felt that the actors are too wooden or melodramatic--"one-note," I believe a reviewer said--without realizing that this is exactly what they are supposed to be. Again at the risk of giving too much away, I'll just point out that these characters are not what they once were. They have eroded. What remains of them is a kind of imprint--thus, for example, the cop can't remember exactly who his family is even though he instantly identifies himself as a father. Each character has preserved only a core of habits, unresolved emotions, and concerns, and it is from this core that the characters speak and act. Even the most trivial comments convey this.

Another problem with this movie is that it doesn't mesh neatly with our preconceived ideas of metaphysical reality. So, for instance, we could all deal with Angel Heart because we could tell right away that Robert De Niro was the devil, but here, we can't seem to find the right archetypes to help us along. Another review suggests that Dad is the devil, but I doubt that very much; I think he would say he's just a sick old man who likes power, who has done a lot of horrible things, and who still mourns the loss of his daughter. And I think he's very close to being right.

The mood of the movie is perfect. It conveys the impression that we have stayed up all night and have reached that vulnerable time shortly before dawn when all decent, normal people are in bed, or possibly are in a different reality altogether; when the world seems empty of all vitality or meaning; and when even the most familiar settings seem unfamiliar. The anonymous sets convey as well this idea that we have stepped into some sort of shadow world where all the late-night fast food places are locked up, all the gas stations are closed, and all the daytime rules no longer apply.

Altogether, this movie perfectly tells the story it has to tell. Unfortunately, those who had hoped that story would be an action thriller will continue to be disappointed.

Angela Bettis stars as a troubled young wife of a man being set-up for a hit thanks to "Dad"(David Proval). She convinces the The Contract(Scott Cohen)to not go ahead with the planned hit, but must coerce Dad to take away the order to kill. Her journey is the large part of this film as Bettis walks a hell of a lot in this film shot in one long continuous take from director Yuri Zeltser. The film is snake-bit by hammy overacting theatrics from a game cast who seem to try too hard for realism and melodramatic depth. The cast is also saddled with corny, sometimes embarrassing, dialogue as well. Not to mention, the film is full of weird characterizations creating an oddball experience which may or may not be the intent. Strange movie. The title is essentially referring to a never-ending cycle..or some sort of nightmarish limbo, is you wish.