Flyerplesys Perfectly adorable

Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

pimathieu This film takes a remarkable risk for a movie these days by avoiding cgi and using an impressionist approach to lighting its Gothic story.The moody, enigmatic atmosphere of this film is very unconventional for an American movie and the action and gore horror crowd may have trouble appreciating it. The intense Gothic atmosphere from the lighting, camera shots, and general cinematography is not something I have seen often in American films. It has a lot more in common with European films. The films of Werner Herzog came to my mind. The film evoked memories of the emphasis on enigmatic and creepy mood in the movies Nosferatu and The Enigma of Kaspar Hauser. The pacing and buildup also reminded me of the classic David Bowie vampire tale The Hunger. The unresolved questions and the unsolved mysteries are also very European. The film remains mysterious to the end and the final scenes daze and confuse more than they solve. What is real? What is dream, hallucination, haunting? Who are Eckhart van Wakefield and Burn in Hell Man? The inclusion of symbolic elements like the arid desert that needs to be crossed to get from the house to the outside world contributes to this also. I found the cinematography to be simply beautiful. I loved the shots with darkened characters silhouetted by the light shining through windows. The extensive use natural lighting combined with filters reminded me of the films of David Hamilton. The scene with the main character Dr. John Weiland going through the house with the candelabra as the only light is excellent and spooky. The play of the three main actresses is bang on: Juliet Landau, whom I saw in Ed Wood, Dale Dickey, whom I remember from True Blood, Veronica Cartright, whom I've seen in a lot of movies and in the TV show Daniel Boone in the early seventies when I was a kid! In fact, Dale Dickey is positively eerie at times! Aric Cushing has a very challenging role to deal with. A professional doctor and father who lost what is most precious to him in horrifying circumstances and has withdrawn into a sullen mood, deeply challenged to cope with what is happening around him and remain in control of himself. Not an easy thing to pull off. To his credit, he carries it off very well. Even though he has a small role, it was also fun to see Michael Moriarty at play in this film. The period reconstitution is convincing: costumes, make up, decors and scenery. Very good job for such a low budget. It also helps that the site and house they chose to film the movie is magnificent. The only minor issue I had with the film was with the music and the sound mixing. Don't get me wrong, the music is very good and contributes greatly to the mood of the movie. The problem was with the intensity of the crescendos which was distracting at times, the music feeling occasionally too loud with respect to the mood set by the visuals, or the crescendo seeming unnecessarily dramatic. The scene where Dale Dickey is wiping dust from a shelf and shakes the rag is the one that stuck most to my mind. I think the music being more subdued would have worked better. The voice mixing seemed a little off also in some of the talking head scenes where it gave a TV teleplay feel. But this is minor stuff. Highly recommended to those who like films that are all about atmosphere and mood.

Foxpup82-79-884183 I just can't understand why everyone loves this movie! The acting was comically wooden, with the exception of the sister and the psychic. My husband gave up on it after 15 very painfully slow minutes, but I persevered with it. The story by the the way has NOTHING to do with the short story "The Yellow Wallpaper" other than a reference to the "rest cure" and place of women in Victorian society. And as mentioned by another reviewer, the main character is named Charlotte, a reference to Charlotte Gilbert, who wrote the short story. Oh, and there's an attic room with yellow wallpaper that the wife sometimes retreats to, but it's existence is Pretty arbitrary. THe plot was very broken up, and half the scenes take place in very dark rooms, making it difficult to see what was going on. The ending was a bit of whatever as well - it didn't seem to match the rest of the movie. it was an interesting premise, too bad it just didn't seem to flow. This could have been a good movie if: 1. They didn't call it The Yellow Wallpaper. False advertising! Why not give it it's own name? 2. The plot had some kind of flow to it, 3. better acting! Especially the male lead, who gave the most wooden performance I have EVER seen. Sadly, these elements were not there, making this clunker a discombobulated boring mess.

wbohon I have always liked the Gothic novel upon which this movie is based, and so I was a bit fearful to see how director Logan Thomas had interpreted it. In short - It was wonderful. It has been a long time since I have enjoyed a movie enough to write a review. This was well- written, well-acted and well-directed. It was so beautiful and visually stimulating I could hang the stills around my house. I love the reinvention of this story - it is at once fantastically modern and relevant and yet dripping with history and antiquity. This is truly a masterful, rich and thrilling film. Definite must see!!

infilmalongtime Knowing the original script would be somewhat different from the original short story; the creators of this visually exquisite, superbly executed sensation have succeeded in transforming Charlotte Perkins Gilman's fine prose into a masterpiece which will more than likely, become a Cult Classic. The musical scoring is beyond hauntingly superb, driving the sequences beyond thriller limits and maintaining wonderful classical refinements. The 'reveal' of the ending is shockingly appropriate somehow. Though many purists of Gilman's work may find this a bit disturbing, they cannot deny that much of her work has been highly honored in this innovative film version. All contributors deserve accolades. An exquisite accomplishment by director, Logan Thomas. August 11, 2016 - by Karen J Shoaff