People love to hate some characters. For instance, take Amon Göth from Schindler’s list or for that Cal Hockley in Titanic. Others are not so much hated, as they are just so unbearable that one’s animosity towards them makes one’s experience of the movie spoiled, and the list include but is hardly exhausted with Jar Jar Binks of Star wars: the phantom menace and Mutt Williams in Indiana Jones and the Kingdom of the Crystal Skull. To this list we can add at least one of the only four major characters in Crumb catcher, a home invasion thriller and black comedy but a home invasion thriller with great paucity of narrative credibility. It’s the type of film, one comes previously to the metaphysical achievements of the author, where one’s memoir relates only halfway to the author’s immelius behavior.
It would be all nicely understandable if screenwriter/scrib’s, and director Chris Skotchdopole made at least some pretendative attempts at addressing the politics, present retiring burdens in his effective stand as a novelist. There is an interesting middle class witless craze in the way that possibly stomach juice perspiring foul-mouthed blabber John (John Speredakos) and his wife Rose (Lorraine Farris) get really crazy when they try to sell Shane’s (Rigo Garay) invention (named after him) to him in a very dark manner.
Nevertheless, Skotchdopole does tend to go out of bounds in terms of storytelling skills and therefore these interesting facets are overwhelmed by the excessive dialogue and unnecessary plot developments. What targets these bull-minded but none-handed authors aimed at and where did they shoot and how? Not towards any of the correct targets. Crumb Catcher painful and incoherent ‘grasp’ at what the end product would look like if ‘Funny Games’ director, Michael Haneke, attempted a retelling of ‘Who’s afraid of Virginia Wolfe’».
If, and it seems quite possible, Skotchdopole ever gets to sup another juicy peach of a directing job (and he should) he would be best off working on someone else’s. This editorial was simultaneously elongated and vertiginous since the couple 5 new characters-named Christians over peculiarly confined in the opening Fr Perkins detracts that the couple hence has little hope that it is true love and grandeur is but a professional relationship. Rather the bondage between Garay and Peck being rather painfully non existent is probably a creative choice wherein it is assumed that we are not only ignorant of Shane and Leah, we are not afforded the chance to know them.
It is only during their honeymoon foreplay that something akin to venturing into their relationship’s third dimension can be said to occur and Shane, who is very concerned how his family may react to the memoir that he is about to write, eliminates his gussa persona claiming to be just a tough guy requesting Leah to pop the champagne cork for him.
The bulk of the action takes place in their beautiful honeymoon ośrodek wczasowy which was lend to the couple by Leah’s boss (the movie has plenty of lavish shots in dutchess and putnam counties.) Mostly this is thanks to the size enabled camerawork of Adam Carboni, though his panning and editing of a whirling camera without restraint on nilla saskotchdopole’s part over-takes accuracy and becomes nauseating at rather best.
Very much apart from entertainment value however, confusion is indeed what the audience shall soon have the pleasure of, as in tonight, there is an unwelcome thump against the door which previously was not open nowhere, and it turns out that it’s John, a frantic and shabby waiter, who came from the wedding to deliver the cake topper that has been wrongfully sent instead courtesy of the couple. Resisting transmutation into a steady figure, John is the to go character in the movie holding onto scientifically obsessed Rose.
To give him credit, we see in Speredakos that if Speredakos has to bend over backwards, then he goes perfectly all in in this case as he patiently bears John’s infantile hyperactive swamping. Like Willy Loman recalls while dragging a nervous breakdown in Westchester County and wants to use the lavatory, that however doesn’t give the right to bear in rudely more like a caveman inside the cabin. Still, the character is out of place like a fish out of water in the movie whose rest of the surrounding is more realistic and Rose is not any better in any case while imbuing Farris with the ‘less is more’ attitude that must have been demanded from her.
All the above attempts will cause a deep suspicion in the mind of any individual that it may be the case that John is a figurative fly, a figurative Beelzebub, not this time represented in very nasty images but using soft talk to lure the not-so-happy couple with very high-tech props such as edible toys and colored waterfalls for his revolutionary invention – a bright red device that collects crumbs from dinner tables. Yet the opposite is true; John and Rose are merely very hard-working con artists and if the newlyweds are not willing to pay and do not prepare to hand out $50,000 as the first installment for the Crumb Catcher investment while Shane has a compromising video of the wedding day which he intends to use to coerce Rose.
The structure of the film is such that if the ordinary citizens in it were viewers rather than characters, they would have, in all likelihood, steered clear of the whole mess. Taking shane and leah as an example, she has the brains of the two, sand vs leah to answer shane, they both however follow the generic requirements, which involves lots of areas regarding calling 911, and france, oooo make me call 911 and other west people. Despite such idiotic actions being part and parcel in most of these kinds of movies, skotchdopole naturally belongs to this genre and takes it a notch higher, and the car chase prior to the apex looms, then breaks, pinch.
In a way, it would be quite embarrassing not to concede that skotchdopole does not relax himself but keeps up a certain degree of tension throughout which is good as it is hard to do with minimal assistance from the dull soundtrack. However, such careful gearing of the screw-making also indicates that he does not seem to be very keen on the idea of addressing racial and class issues whereby the latino shane would be a victim of his wasp’s professional jealousy and john, who is not above deprivation himself, is at least one step removed from being a bald-faced opportunist who combs through american capitalism only to earn a little pity from the mass.isn akili.
On the contrary, he is the most unlikable character in a film where nobody is likable nor anything done by any character done is worthy of bothering. However, if one learns anything from Crumb Catcher, it’s that if a maniac has come up your driveway for the umpteenth time, for the love of God, shut the front door.
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