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Sick Product of a Sick System

Good films always raise compelling questions, whether the format is fiction or documentary fact.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

It's a feast for the eyes. But what really makes this dramedy work is the acting.

Overall, I enjoyed the film. I think it is a fine example of modern Film-Noire. It's true, the plot is a little too vague, the lack of societal context reduces it's sense of authenticity and realism, and the voice-over narration could have been used less or perhaps eliminated completely. Overall though, it's a great mood piece and visually sumptuous and stunning. The beautiful Ms. Sanchez allowed me to feel the pain of her relationship with the hero. This film had a lot of potential to be a true masterpiece, but the flaws bring it down to the level of great genre piece. I would highly recommend it to fans of the genre, but, it's not a film I would recommend to the casual viewer.

Film Noire is a genre that requires a certain level of tact, cleverness, intellect, and imagery. This movie has none of that, though they really tried hard with the imagery.It's the kind of movie that your cousin Marky the dump truck driver, who's always talking about how he's going to make it big in the movies someday, would make.The dialogue is wooden and lifeless. The visuals, while obviously expensive to make, are the work of a director who has tried to be clever and failed miserably due to a severe lack in cerebral ability. The acting ranged from sub-par to just plain bad. The story might have been salvaged by a real writer and director, but I suspect that such people would not have touched it with a barge pole.About 1/4 of the way through, I noticed striking similarities with the scene in Sim0ne where Viktor, desperate to be rid of his actress, makes the world's worst movie. I figured I'd check IMDb to see if a similar effect has occurred in this movie, and to my surprise it has. I'd almost be tempted to give a 2 out of 10 just because it's exposed the pretentious groupies, but I won't. It's that bad.

This was such a terrible film, almost a comedy sketch of a noir film.The budget was low compared to a blockbuster, but still higher than most.But its where they've decided to cut costs that is totally weird.Some actors are at least competent, while others look like they just been dragged off the street.One of them being the lead actor, hes so very bad that i cringed when ever he said anything (he talks through the ENTIRE movie).Then there's the weird costume choices.At the start of the movie all characters are wearing 1930's clothes.They drive a classic car, but the background is a modern day windfarm thats blatantly state of the art.And the costumes and some settings continue to follow this 30's film noir theme.Then BAM in drives a brand new escalade with 24 inch rims....WTF.Same thing again when a guy has a night scope on his rifle, you get a shot down its sight.Hes aiming at a guy with an mp5 and tactical gear on.In a even stranger contrast the locations are brilliant, and seem to have cost more than the rest of the entire film.The camera shots/angles a very good, and show these locations brilliantly in the scenes.The director has a keen eye for a good looking single shot, but no idea how to do much else.People who should be shot for this film▼The writer The director The casting agent The costume designerPeople who should be tortured to death for their monotone, monotonous nails on chalk board voice.▼Anton Pardoe- the lead actor, writer, producer If you ever seen the movie Hostel, i wish that would happen to this guy, but he doesn't escape.

Review: The Perfect Sleep by Scott Weinberg Mar 12th 2009 // 12:45PM I don't pretend to be any sort of scholar where film noir is concerned, but like most movies geeks of a certain age, I was bitten by the bug and went a little crazy. All of a sudden my Netflix queue was swollen with films by Jules Dassin, Robert Siodmak, and Anthony Mann. I must have gone through at least 50 titles, but my very favorite remains the first noir I ever saw: Otto Preminger's practically perfect Laura. As most old-school movie freaks can tell you, film noir generally deals with several key components: Crime, paranoia, sharp shadows, hard-boiled dialog, elaborate conspiracies, femme fatales, sudden violence, and a foreboding sense that fate is a cruel mistress indeed. (Like I said, I'm no scholar, but you can get a great noir lesson right here.) But nowadays we don't seem to have much use for film noir, unless (of course) it's used as a stylistic choice in movies like Sin City and Watchmen. (Hey, I guess Frank Miller and Alan Moore dig film noir, so maybe you should too!) And then there are indie films like The Perfect Sleep, which aim to come across as both a traditional film noir and an affectionate homage / satire of the genre at the same time. If the flick is just a bit too clever for its own good on one or two occasions, well, I suppose that's preferable to most movies, because they're generally way too stupid for their own good.Tailor-made for open-minded noir buffs who wouldn't mind seeing the beloved genre blended up with a dose of martial arts mayhem and just a touch of supernatural strangeness, Jeremy Alter's The Perfect Sleep takes a little while to warm up to. We open with whom we assume is our grizzled hero, just as he's about to get beaten up by a gang of wise-ass henchmen. Then we jump straight back into a slightly convoluted flashback structure in which all the essential rules and players are introduced before we end up back at square one.And that's when things get really twisty. Anton Pardoe plays the unnamed protagonist, and while the flick (to its credit) never comes out and states that its reluctant hero is virtually immortal, it soon becomes obvious that the villains are just a little "extra cautious" when he enters the room. Plus, it turns out that the nefarious evildoers (something about an old grudge, a recent kidnapping, and a whole lot of bad blood) have a whole lot of martial arts experts on the payroll -- while our inscrutable, invincible anti-hero has a colorfully evil doctor as his only sidekick. All one need remember is that Ms. Roselyn Sanchez plays the femme fatale / object of multiple affections, and suddenly the various schemes, betrayals, and motivations make a lot more sense. (In other words, she's gorgeous.) I could waste this paragraph explaining the densely-layered plot threads, the amusingly pulpy tough-guy banter, or Alter's unquestionable gift for throwing shadows and light together, but The Perfect Sleep is a fine little indie concoction that's best left for the viewer to sift through. Pardoe does a great job of delivering even the pulpiest of dialog, and the supporting cast is particularly excellent: Michael Pare pops up as a violent cop, and adds a lot to the proceedings when he does, plus we're treated to a wonderfully sick performance by Tony Amendola as a character best described as "Dr. Hit-man." Amendola steals every scene he's in and left me wanting more of this bizarre lunatic.Of course I had a few nitpicks (the narration is maybe a bit too self-aware, some sequences a touch over-stuffed, a small handful of lines perhaps a little too florid), but it's tough to notice a few speed bumps when you're riding along with a filmmaker who clearly loves the same sort of movies I do. The Perfect Sleep is an undeniably odd mixture of 80% noir, 15% action, and 5% random homage, but I suspect that the film fans it was made for will definitely appreciate it.The Perfect Sleep opens on 3/13 in Los Angeles, with other markets to follow in a week or two. It looks like Magnolia plans to release it when DVD time rolls around, so that's good news for everyone. And here's a link to the film's official site.www.theperfectsleep.com http://www.cinematical.com/2009/03/12/review-the-perfect-sleep/