Normally I'd avoid sharing a review of such an insipid, rather tedious offering: but in view of the wildly differing viewpoints here (all positive quite likely, as already surmised elsewhere, by those somehow connected to this production), since if, ah, tolerated with the right 'in the know' watch, this one can somehow be, ah, sorta intriguing - sort of - a (tiny) bit ...
for this is story of a girl whose mother mysteriously died (no plot spoiler here=see film to know how), directed by the mother who cast (it's in the credits) her own daughter as the 'girl' seeking the truth of ...well, check the title, telling us right upfront what to expect!
Which, so besides casting and coming up with this story, that mother director also (co) wrote the screenplay, produced and .. well: suffice to say, you soon realise that this is somehow some sort of family affair - which is the film's plotline too: (although, note: first (co?) director credit given in opening sequence, goes to an Arlo Malarone ... ) Said daughter, lead role actress, also composed several of tunes hereto e.g. including both over the end credits in which the last lyrics include 'What you think is true .. isn't + how could you favour this involute crime', so in case you unsure what's it all about, surely confirms all that gone before; plus it was further - just coincidentally - also produced by director's 'spouse' too - meaning, presumably the - real - (step?) father of the said lead actress, who in the film ... ahh, I nearly give away too much. Ohh, what could it all mean? So that, when you know this, it's a rather odd storyline plot to be so presented by such mother-daughter pair.
The problem is, in travailing through this dull palette (mostly almost only sepia toned, except for when daughter first full shot of, for a splash of sumptuous - lipsticked, at least - colour), the directorial tedium (ineptness? Too harsh! But 'wake up' indeed!) seeps out with rather far too may turgid talking heads exposition longueurs (father with daughter, daughter with faux boyfriend, father figure (lecherous undertaker?! I gave up trying to link them) with local baddy ....): but if to persevere, then you can enjoy spotting the director, having cast (it's in the credits) herself as local 'rest home' institution doctor (Rockwell), in which, you can further ponder the almost unfathomableness written by the director of the oddly 'are they there or are they not' appearances of the 'lost' uncle - E. Furlong's really only scene, emoting far too over the top - and even Olli Stone's documentary maker son, Sean, as 'man with fedora hat' role. (His purpose role? Guardian angel, perhaps: although probably cameo role in thanks for the catering / home use? Both as given in the credits - again - anyway.) Also you can enjoy veteran actor Savage's Dad's attempt to give his character gravitas: have a drink every time he purses his hands to his lips (in prayer, no one will catch this one?) Plus, in the 'so, what's that got to do much with the plot'? interminable funeral parlour locations (morbid delight, Ms. Engle?), giving, ah, rise to other oddity roles like the family Johansson played by presumably the reality related 'Girards', along with - was it as their daughter? (I really gave up trying to follow) - a Rosilyn Kazanjian as one of two credited 'embalmed bodies' (yep: as noted in the credits! - another is also credited as one of many (many) production assistants, too): even as far as characters named 'Namath' and 'Cranium' (who? Latter, played by Raw Leiba = again: who?)
There's likely more: but I couldn't be bothered to watch it through again to check (e.g. what's with the 'startling' blue teddy bear poster ...?): but you might somehow tolerate it if you knew such nepotism like intricacies in advance: so as to, I could still advise, stick with 'til its denouement section as a - although admittedly rather feeble - still shock reveal finally arrives, so that even if, as one other reviewer noticed, it's not really a horror, despite the come on box that my DVD came in which shows a creepy adult menacingly behind an innocent looking child, but which is, in effect, not only a red herring, but a con to the plot presented by Ms. Engle. In short; atrocious!
N.B. To really challenge your familial appreciation, I would recommend to fun double bill it with another crass family affair effort: Caspar van Dien's 'Sleeping Beauty'!
Which, so besides casting and coming up with this story, that mother director also (co) wrote the screenplay, produced and .. well: suffice to say, you soon realise that this is somehow some sort of family affair - which is the film's plotline too: (although, note: first (co?) director credit given in opening sequence, goes to an Arlo Malarone ... ) Said daughter, lead role actress, also composed several of tunes hereto e.g. including both over the end credits in which the last lyrics include 'What you think is true .. isn't + how could you favour this involute crime', so in case you unsure what's it all about, surely confirms all that gone before; plus it was further - just coincidentally - also produced by director's 'spouse' too - meaning, presumably the - real - (step?) father of the said lead actress, who in the film ... ahh, I nearly give away too much. Ohh, what could it all mean? So that, when you know this, it's a rather odd storyline plot to be so presented by such mother-daughter pair.
The problem is, in travailing through this dull palette (mostly almost only sepia toned, except for when daughter first full shot of, for a splash of sumptuous - lipsticked, at least - colour), the directorial tedium (ineptness? Too harsh! But 'wake up' indeed!) seeps out with rather far too may turgid talking heads exposition longueurs (father with daughter, daughter with faux boyfriend, father figure (lecherous undertaker?! I gave up trying to link them) with local baddy ....): but if to persevere, then you can enjoy spotting the director, having cast (it's in the credits) herself as local 'rest home' institution doctor (Rockwell), in which, you can further ponder the almost unfathomableness written by the director of the oddly 'are they there or are they not' appearances of the 'lost' uncle - E. Furlong's really only scene, emoting far too over the top - and even Olli Stone's documentary maker son, Sean, as 'man with fedora hat' role. (His purpose role? Guardian angel, perhaps: although probably cameo role in thanks for the catering / home use? Both as given in the credits - again - anyway.) Also you can enjoy veteran actor Savage's Dad's attempt to give his character gravitas: have a drink every time he purses his hands to his lips (in prayer, no one will catch this one?) Plus, in the 'so, what's that got to do much with the plot'? interminable funeral parlour locations (morbid delight, Ms. Engle?), giving, ah, rise to other oddity roles like the family Johansson played by presumably the reality related 'Girards', along with - was it as their daughter? (I really gave up trying to follow) - a Rosilyn Kazanjian as one of two credited 'embalmed bodies' (yep: as noted in the credits! - another is also credited as one of many (many) production assistants, too): even as far as characters named 'Namath' and 'Cranium' (who? Latter, played by Raw Leiba = again: who?)
There's likely more: but I couldn't be bothered to watch it through again to check (e.g. what's with the 'startling' blue teddy bear poster ...?): but you might somehow tolerate it if you knew such nepotism like intricacies in advance: so as to, I could still advise, stick with 'til its denouement section as a - although admittedly rather feeble - still shock reveal finally arrives, so that even if, as one other reviewer noticed, it's not really a horror, despite the come on box that my DVD came in which shows a creepy adult menacingly behind an innocent looking child, but which is, in effect, not only a red herring, but a con to the plot presented by Ms. Engle. In short; atrocious!
N.B. To really challenge your familial appreciation, I would recommend to fun double bill it with another crass family affair effort: Caspar van Dien's 'Sleeping Beauty'!