This guy can't write stupid plot, bad dialogue , so he should have gotten a screenplay- there are people who would do anything to get their scripts made into films. In Melody's case, marrying the wrong man phased out her trust for everything. Unfortunately, the ending is not as menacing as it should have been and falls flat. The veneer cracks for several of the leading characters, who seem to lead charmed lives as well. David Dailey is a man who has it all: A great career, a community that adores him, and an enduring marriage.
I think a lot of this comes from the budgetary constraints of the film. It also employs a nice cast of actors, and altogether has a professional look. But this way it's not more than 5. This enables you to watch the video without an Internet connection. As in his first film, Pollard wrote and directed Keep Your Distance, and again uses his native Louisville, Kentucky as a sort of character. Some good actors here but their performances were stilted in large part because the dialogue was cliché. An interesting and well-acted movie for the most part.
Christian Kane plays the trust-fund pop wannabe with conviction, and his obsessions help drive the film home. In the opening moments of Distance, the viewer is given glimpses of a politician running for office, his face being paint-balled on a campaign poster, a popular radio talk-show host and his wife, a break-in involving computer sabotage, some steamy sex, a woman driving and living out of a suitcase, the talk-show host's wife leaving a high-end hotel and looking incredibly sexy, strutting like she means business , a powerful man and his son at the racetrack, a note left on a windshield, an extremely public wedding proposal, child-porn charges, and a hit-and-run. And nothing at all happens from this point on. I don't want to spoil anybody's experience with the film, so I won't write anything about why it was bad. Acting was very good and the characters where believable.
Instead, it's one guy trying to deal with real life issues, all the while questioning his relationships and realizing how easily it can all be taken away. However here my judgment might be clouded, as I think she would be fascinating just reading the phone book. He plays a man with a charmed life whose world gets rocked by an anonymous interloper. He seems to me to be on his way up in the film industry, but I hope he sticks with his independent films because it is inspirational to see a movie that is not completely commercialized by Hollywood. And today I wanted to watch something in the evening, and I hadn't got anything I haven't had seen yet besides this one. It was awesome seeing our hometown, Louisville Kentucky in the background throughout the movie. The acting is workmanlike, the script is full of clumsy dialogue, and the direction is riddled with embarrassing clichés.
The film moved seamlessly through the twists and turns that make it a joy to watch, while unnoticeably barreling toward an ending that I didn't see coming. After creating a wonderful comedy about Everyman in his first effort, Nice Guys Sleep Alone, Pollard shows us some definite range, going in a completely different direction with a dramatic work that keeps you guessing. Melody has a possessive and rich boy friend who gives everyone the willies. Jamie Harrold, as Whit, Dailey's assistant, is excellent, and Jennifer Westfeldt is superb as a workaholic pharmaceutical rep being torn in different directions; like Bellows', her journey becomes ours. So I thought it will worth a shot.
In today's politically vitriolic atmosphere, one might expect a director to use a campaign angle to further some type of personal agenda. Melody has just turned her boyfriend's, Sean, proposal down in public, but when Melody runs out to skip humiliation, she gets hit by a car and David helps her, so when he finds out about his wife, he drinks and gets thrown in jail, and to return the favor, Melody bails him out and they develop a friendship discovering that there might be people out to hurt them. What a waste of time. Complicating matters, Melody's jilted boyfriend Sean, a charming and talented trust fund baby, regards David and Melody's fledgling friendship with contempt. I recently had the opportunity to check out an advance screening of Keep Your Distance, director Stu Pollard's sophomore inde effort.
The acting was expertly performed Gil Bellows and Jennifer Westfeldt give exceptional performances , the cinematography allowed the story to take precedence, and the musical scores were appropriate. It's supposed to be a thriller, but nothing really happens. Besides that it is less than decent, especially the ending. As his jealousy seethes deeper, he concocts a devious plan to win her back, unaware his overly protective father has ordered his number one ally to keep an eye. And he finds himself increasingly attracted to Melody Carpenter, a curious stranger he instinctively trusts because she doesn't know him well enough to betray him. His longtime assistant Whit is gunning for his job. But beneath the surface, David's idyllic world is crumbling.
The deeply personal becomes politically charged, and the overtly political comes home to roost with the most serious of consequences. I have this film for a while, but I've never seen it until today. I went for a nice ride on this film, the vehicles suspension wasn't to stiff, it handled very well, I wasn't required to be sophisticated to understand it's workings; yet it retained the required mystery, many thanks to the engineers for not adding a surplus of bells and whistles, sometimes less really is more with the exception of Jennifer Westfeldt that is. As his perfect life veers further and further off course, David is about to learn that the biggest danger of having it all is having everything to lose. No moment stands out as showy, as popular blockbusters would try to impress us with badass personalities, or as experimental art films would consciously pile layers upon layers of subtleties. The only reason I'm not mad because of the bad opinions that almost got me not to watch it is that this way I had a feeling all the way through the film that there will be a lame ending.