Incannerax What a waste of my time!!!

ReaderKenka Let's be realistic.

Supelice Dreadfully Boring

Breakinger A Brilliant Conflict

gmrheart This movie started out really good. Then it just got so confusing and didn't make a lot of sense. For example, who called her on the phone? Was it just her brother playing a trick on her? I couldn't tell. And what was up with the time capsule? And who was at the door at the end? As good an actress as chloe is, even her facial expressions were very confusing. And why did she seem so confused when jenna finally "saw the light" and thought her mom was going to return? Why? She was the one who got her to believe it in the first place? And did the puppy die? And since her daughter was with her when she bought it, how did she not know her mom had a puppy in a box? Just too many questions. Too many loose ends to make any sense.

gnaomi Emily Dickenson said something about knowing she'd encountered a true poem if it took the top of her head off, or something like that. I know I've encountered a real film, when immediately after the credits have rolled I need to watch it again. M. Blash's "The Wait" is one of those for sure. There was a moment when the sound changed and the image cut to an eerie moon, fire- orange and smoke-black, the clouds moving like a haunting. There was something Kubrick there. And again in the twinning of the blond mother and daughter pair, after a desperate trip to town, which culminated in twin curled coifs. I also loved the primal backdrop of fire, floral light piercing a cave's interior, a herd of horses running, a girl running, a girl dancing. I will put this on the list of my favorite films this year, which also includes Lars Von Trier's "Nymphomaniac" and "Blue is The Warmest Color".

samkan For starters, Sevigny and Malone look more like sisters than many actual sisters, adding more affect than one might expect. The introduction to THE WAIT is great, it's subtle yet captivating and anyone who's gone through the experience of a like death (usually the big "C" involving a parent or grandparent) will immediately pick up on the chilling vibe. From there we begin a trip with the three bereaving children, beautifully encased in a gorgeous Oregon setting that is alternately threatening, benign, active and sterile. Sevigny does her usual wonderful turn, herein as sort of a passive-aggressive sister. Was unfamiliar with Malone, who steals the show. Young brother also engrossing. On one hand, captivating this film is!; i.e., to the point that the viewer (certainly THIS viewer) may become indifferent to whether the major plot item - mom's dead! - is even resolved. On this thought I was almost disappointed at the head scratching, curious attempt at resolution at the very end. Yes there are plot lines and characters aplenty completely untreated when the credits begin to roll. But the virtual submersion into THE WAITS' atmosphere leads me to recommend a watching. PS/The comparison to a David Lynch film; e.g., both the ambiguity and the TWIN PEAKS setting, comes to mind, though those put off by Lynch's strangeness, violence, etc., need not fear herein.

suite92 The picture opens just after the death of the mother of sisters Angela and Emma. Someone calls Emma and tells her the mother will return. Emma tells this to Angela who laughs in spite of her overall sadness.The sisters are a bit slow getting officials in to look at the body. Karen (Emma's daughter) is a bit weirded out by everything. Then again, so is Angela. Her off and on budding romance with Ben is interrupted now and then with her dealing with the death.Angela's semi-meltdown when Henry (Emma's ex) wants to see his mother in law was rather awkward. No one had bothered to tell Henry about the death.Spoiler alert: there is no resolution to anything. The best is not ahead in the film; instead the best moment was the golden second before the film started.-----Scores-----Cinematography: 9/10 Some great camera work to be sure, from the technical standpoint.Sound: 5/10 Irritating and discordant, more or less like all the inner versus outer performance art pieces that comprise the film.Acting: 2/10 Roughly speaking, every other performance I've seen from Chloe Sevigny was better than this one. All the other performances (except, perhaps, that of Luke Grimes) seemed to be of the form 'hit your mark, say your lines, do not think.' Actors should do a bit better than this.Screenplay: 2/10 The interleaving the narrative with footage of firemen doing their best to contain a huge forest fire was interesting to a point. The characters in the film are not touched by it--unless they go looking for it, and most do not--but all this real destruction is nearby. These entitled, upper class twits don't seem to see themselves losing ground (burning up inside) while their outer lives seem fine. That's great from a 20 year old film student, but I could do without it in a motion picture that has been released. The manipulative camera techniques were not all that helpful or interesting or novel; I don't feel that they advanced the narrative or the overall impact of the story. Overall, the picture seemed like visiting an archipelago from a cruise ship. Each island is less interesting than the last, and there is no particular coherence to the experience as a whole.