Suburban Mayhem

Suburban Mayhem

Can you really get away with murder? Welcome to the world of Katrina, a 19-year-old single mum who's planning to do just that. Katrina lives in a world of petty crime, fast cars, manicures and blow-jobs. A master manipulator of men living at home with her father in suburban Golden Grove, Katrina will stop at nothing to get what she wants - even murder.

Why does a 19 year-old girl plot to kill her own father? Katrina Skinner is stuck in suburbia with her toddler daughter and her devoted dad. Her brother Danny is in jail for life for murder... . You can read more in Google, Youtube, Wiki


Suburban Mayhem torrent reviews

Cameron J (ca) wrote: "The voices echo in my head: 'Is Jamie Marks alive, or is Jamie Marks dead?'" Man, "God is Dead?" is too blasted long and a little bit dull, but it's Black Sabbath, so, naturally, it won the Grammy for Best Metal Performance, an event as obvious as this film's title. The filmmakers had to have known that this film was going to struggle enough with business, without the novel's original title "One for Sorrow", which is too blasted depressing... you know, as opposed to "Jamie Marks Is Dead". You know that the corpse in question is a kid, because, seriously, just how many adults do you know of whose name is somewhere in the vein of Jamie Marks? Yeah, they did kind of mess up with the marketing here, because they make the poster look like a horror movie with its portrayal a kid's cold, pale and bare corpse, while putting only so much emphasis on the presence of such celebrities as Liv Tyler and, well, Judy Greer. Last year, Greer was in "Carrie", so it seems to be her thing lately to show up in films about teenagers with some kind of supernatural ability or something. Yes, these kids are seeing Jamie Marks' ghost, but this is still not a horror film, partly because it's more about drama, and largely because, well, it's not especially thrilling, even in concept.This film's subject matter may be weight in dramatic and thematic significance, but the plot is still too straightforward to establish all that much potential, saying only so much as a naturalist character study in concept, and saying even less in execution. By that, I mean that, to be so character-driven, this film hits many issues with characterization, the first of which being a lack of immediate development that could be compensated for if the gradual exposition wasn't some varying degree of thin, to where the leading roles take their time to flesh out their layers, and to where certain supporting characters come off as thin types written with a lack of subtlety. There's something contrived about the way certain characters fit into the thematic and narrative focus of this film, which is frustrating, because this film thrives on its subtlety as a naturalist drama, whose artistic vision are often corrupted by other very theatrical storytelling touches, the most manufactured of which being ghost aspects which are intriguing, especially with Noah Silver's revelatory performance as the titular tortured soul, but which fail to fully flow with this film's realist style and tone. Really, a big issue with the film is its getting disjointed in both tone and plot, jarring between meditative dramatics and pseudo-psychological horror, while messily juggling a couple thematically purposeful, but narratively problematic subplots, all in a reflection of excess that corrupts the focus of substance. Of course, excess doesn't distance quite as much as it does when applied to the ponderously paced nature of this film, which, almost in an arthouse fashion, meditates, maybe not on nothing, but certainly on thin, naturalist filler, backed by enough dialogue and effectiveness to keep consistent tedium at bay, yet still not enough to keep people from getting mighty bored mighty often. This film is a trial for one's patience, for anyone, actually, because this drama is so ambitious that it can't quite figure out its direction, juggling naturalism and theatrics, subtle drama and biting horror, and all sorts of other things that make it too flimsy to captivate the aesthetic, and too bland to engross the less open-minded. Still, whether or not the film actually falls flat to either party is an entirely different matter, because even though the final product is something of a meandering mess, it has a lot to admire, in both the substance and the style.Franois-Eudes Chanfrault's score isn't really anything especially new, and some would argue that it's too chilling for this very dark drama which should be focusing more on its humanity, rather than getting caught up in its horror aspects, yet it is nonetheless powerful, with a beautiful and striking minimalism whose prominence throughout this slow-burn affair subdues much of the tedium by way of aesthetic and atmospheric effectiveness. About as biting is cinematography by Darren Lew that is defined by an intentional coldness that takes a lot of getting used to, but captivates with a handsome bleakness once your able to grasp its significance in the context of this psychological drama, particularly when it falls over haunting visuals that range from audaciously disturbing to gothic in its gritty grace. The atmosphere of this film is molded through Chanfrault's rich score and Lew's haunting visual style, by the orchestration of director Carter Smith, whose storytelling would be so much more admirable if it was more coherent in its breaking thoughtful dramatics with potent atmospheric intensity, and didn't so often get so lost in its atmosphere and naturalism that it dulls momentum to a crawl, but as a vehicle for Smith's directorial abilities, this drama delivers when the storytelling is realized, utilizing subtle scene structuring and the aforementioned gothic musical and visual stylization to resonate. When the psychological horror is well-tuned, it's nerve-wracking, and when the drama is realized, it's actually touching, if not devastating, bringing humanity to a thinly scripted, but conceptually sound character study. This story is a little simple to begin with, and its interpretation stresses that through some thin characterization and uneven structuring to focus and pacing, yet at its core, it might very well be enthralling, alternating, albeit a little inorganically, between dramatic meditations on a young man's struggles and confusion in disturbing times, and intriguing spiritual and psychological horror, and backing it all with refreshingly approached themes on coming of age and finding acceptance that resonate through the heights in storytelling, and through powerful performances. As a mad, vengeful spirit, Madisen Beaty goes much too over-the-top in the couple of scenes she plagues, breaking the consistency of an otherwise remarkable cast, from which everyone stands out from time to time, but not like the most primary members, with Noah Silver capturing the awkwardness, fear, intensity and overall confusion of the titular Jamie "American Harry Potter" Marks character - an awkward boy in life, and a miserably lonely soul in death - with a penetrating emotional conviction that moves, chills and steals the show as what ought to end up being one of the best supporting performances of the year, while young lead Cameron Monaghan, despite not being given quite as much material, is also a revelation, selling the initial humanity and discomfort of a mostly average and caring, but quiet teen, and subtly and gracefully packing on the anxiety of someone cursed with the burden of confronting his own issues and the issues of a sorrowful spirit that brings both companionship and horror wherever he roams. Monaghan is outstanding, and Silver is nothing short of a powerhouse, and as these boys, and their sparkling chemistry, are brought more to light with the progression of the film and the expansion of Smith's piercing directorial vision, this drama is brought more to life, and although the reward value comes in much too late for the final product to reward on the whole, underwhelming early acts are compensated enough for the final product to engage as a worthwhile vehicle for thoughtful direction and powerful performances, in spite of its flaws.Once the sorrow has passed, the final product finds its natural shortcomings exacerbated by some thin characterization and an awkward alternation between naturalist dramatics and psychological horror that begets some inconsistency in tone, met with inconsistencies in focus and a mostly dully meandering pace that finalize the final product as underwhelming, but just barely in the long run, because as things progress, an already firm grip on captivating score work, hauntingly gothic cinematography and visuals, chillingly and movingly thoughtful direction, dramatically and thematically worthy subject matter, and strong performances - especially from the revelatory Noah Silver and Cameron Monaghan - tightens enough to secure "Jamie Marks Is Dead" as, at the very least, borderline rewarding, if a tad misguided as a psychological horror-drama about the usual and unusual anxieties of youths during and after life.2.75/5 - Decent

Edward K (nl) wrote: It was primarily for the fabulous scenery of Bariloche Argentina that I enjoyed the film while the action and drama was secondary and, as one reviewer put it, heavy handed and laden. All actors worked well together and there performances were very good but suffered at the expense of the directors approach to the plot. The plot twist was slight but caught me by surprise.

Alicia Z (es) wrote: This is terrible. It looks like something we shot back in high school. This was not well blocked out. Everything is so obvious and over simplified. Werewolves = evil Red = hunter No shades of grey whatsoever. The huntress has fantastic aim and werewolves despite their obvious abilities are incapable of subduing one woman.The actress emotes well but we're not connected to her, the family, or their crisis. This is about as watchable as an hour of commercials.

Laurie O (us) wrote: I really liked this film--honest, realistic, sex-positive and, ultimately, romantic.

Jacob T (us) wrote: This a great movie. Superman is better. Superman II is better. Superman IV the quest for peace is also better. Superman returns is better. Man of steel is better. Batman vs Superman dawn of the justice league is also better. Still this is a good movie. See it.

Bill B (br) wrote: Okay, maybe this is just a reflection of the ennui of the '70s, but I had a hard time getting into the idea that no one had a decent relationship, regardless of how attractive, well off or even (God forbid) in love anyone seemed to be on the surface - they were all miserable and waiting for the next thing to come along. Or at least that's what this film taught me.Rental.

Bradley P (au) wrote: Suspenseful and entertaining, Cat O' Nine Tails delivers on thrills and it very witty. A catchy soundtrack helps boost the film and gives it a great feel and atmosphere.

Stephen T (br) wrote: Rapid dialogue sets the tone for Sweet Smell of Success. Burt Lancaster produces and stars as the almighty newspaper columnist J.J. Hunsecker - a thinly veiled version of Walter Winchell. In a different time (1940s and 1950s), newspaper columnists commanded immense persuasive power, careers were built up and torn down overnight usually depending on the whims, grudges, or favors of a particular noted columnist or editor. Columnists can't be everywhere at once and they depend on a network of spies, interns, and friendly public officials to feed them information. Enter Tony Curtis' character Sidney Falco, a sleazy, neurotic, hounding press agent who is a slave to Hunsecker's will. Falco falls out of favor and will do anything to get Hunsecker's ear again; including selling his dignity, which he does over and over again. Hunsecker and Falco are positively medieval in their treatment of people's feelings even concerning members of their own family, such as Hunsecker's love-struck kid sister who has fallen for the wrong type of man (a guitar player) in Hunsecker's opinion. Hunsecker is played by Burt Lancaster, but despite Lancaster's best efforts this is Tony Curtis' film all the way. Lancaster is known for his diverse performances, but Curtis completely breaks type. Curtis shows audiences he can do more than romantic comedies. Undoubtedly a hectic film to shoot, Lancaster's firm produced the film and the cast and crew knew all too well the tyrannical nature of Lancaster as producer. Director Alexander Mackendrick pulls off a difficult script in short order with Clifford Odets re-writing almost all the dialogue and delivering it to the actors as soon as it came off the typewriter.

Jeff B (de) wrote: Pretty much what you'd expect for 1922. I will say--and I didn't think about this going in--that there's a lot of reading involved in making Shakespeare into silent film.

Charles P (es) wrote: There isn't a whiff artistry here, using the found-footage arrogance as an infinite gutter of clichd scatological, flatulent, sexual, and drug-related humor.

Josh P (de) wrote: Obviously, you never know what to expect after seeking a bottle of Champagne after your mother's wedding rehearsal dinner at the age of sixteen.