Reviews (37)

A Small Masterpiece
This film needs your support! It was apparently completely disregarded by critics when it played theatrically... Written and directed by Henry Bromell, writer-producer of the Baltimore-lensed HOMOCIDE TV series, PANIC is a tight little masterpiece (clocking at less than 1 hour and 25 minutes) of ensemble acting and superior screenwriting. All principal actors hit just right notes in their roles, from William H. Macy (one of the best actors currently working in the US, who single-handedly made my experience of watching ultra-sophomoric FARGO durable), Donald Sutherland, John Ritter, Barbara Bain (Remember MISSION IMPOSSIBLE?), Tracy Ullman (TRACY ULLMAN?!) and, oh, Neve Campbell. The characters are so well-written and so devoid of historionics that some viewers may actually suffer from disorientation, adjusting their brains from the state of overexposure to usual mind-numbing stereotypes in Hollywood movies. Ritter's psychiarist, for example, is one of the two or three among hundreds of psychiarists I have seen in Hollywood movies who actually behaves like a NORMAL PSYCHIARIST and acts SENSIBLY. (MUCH superior to Lorraine Bracco's shrink in THE SOPRANOS) David Dorffmann plays Macey's son, and even though he is supposed to be a super-smart kid, he is NEVER annoying. The scenes are all underplayed with minimum of melodramatics, but they nonetheless pack emotional wallop. The quiet, beautifully lit sequence in which Donald Sutherland introduces the child version of the Macey character to "family business" is not only absolutely chilling, but also immesaruably sad. PANIC reminded me of Paul Schrader's AFFLICTION and Claude Chabrols' morally complex thrillers, such as THIS MAN MUST DIE. It is also like a particularly well-made 1950s film noir suffused with psychological insight ordinarily missing from them.

The DVD version includes a generally informative if a little reticent commentary by Director Bromell, and six deleted scenes. The deleted scenes provide additional background information for characters and deepen our understanding of them, but they also include some stilted and overblown dialogue completely absent in the actual film, the reason I suspect they were in the end dropped from the final product. I am a little disappointed that the audio commentary does not come with Macey, Sutherland and others discussing their acting strategies, given the fact that this film's success depends so much on their contributions, but this is nit-picking. I definitely recommend this movie for anyone who is a fan of Macey, Sutherland, Campbell and those who appreciate morally complex human dramas and/or thrillers. NOT RECOMMENDED, however, to those who want an action film like AIR FORCE ONE or a "quirky" movie like FARGO.

It's Hard Being Someone's Son
It's amazing to me that this film wasn't released as widely as, say, Memento or even Sexy Beast. It is an absolutely superb film featuring William H. Macy(Fargo) in his finest performance to date as Alex, a second-generation hitman railroaded into the business by his controlling monster of a father, played by Donald Sutherland(JFK).

The first thing that should strike any viewer about this movie is its cast. There isn't really a weak link in this movie, even though it does feature Neve Campbell. Campbell's performance, incidentally, really says something for Henry Bromell's direction: she's actually convincing, cast against type, and gives her strongest performance to date as the troubled love interest Alex meets in his psychiatrist's office.

The extreme circumstances featured in this film -- i.e. a middle-aged hitman seeing his shrink -- are really only a metaphor for the mid-life crises of half of America's middle-aged men, who went unwillingly into their father's businesses and sacrificed their own dreams. This movie is not about a love affair or a hitman; it is about how hard it is to be someone's son in America, about the expectations placed on men in our society and the outlets which we are given and which are denied us to express ourselves. Perhaps Neve Campbell herself delivers the most telling line in the film: "It's easier being a man, don't you think?" to which wife Tracy Ullman replies only with a knowing look, then turns her back.

It's a shame this film was overlooked. Henry Bromell's debut as writer-director on this film proves one of cinema's finest. William H. Macy gives the strongest performance of the year, far outdoing Russell Crowe's unintelligible stone-faced Maximus; it is also Macy's greatest role, the culmination of every unsure forty-something he's played. Do yourself a favor and see this movie. Then go home and love your son.

The Sins of the Father ...
What a find this movie was. Subtle, tense, occasionally laugh-out-loud funny and ultimately satisfying.

A hit-man wants out of the family business, and in to the pants of Neve Campbell. Which, I suppose, makes him a murderer and a philanderer. Not that you'll feel anything but empathy and compassion for William H. Macy's character: which, of course, is his genius.

In a story that explores, among other things, the whole family dynamic - from the damage our parents do us, to the effort needed to make a marriage succeed - you'll find it all rings true. The context of the story is alien and exotic, but the relationships aren't. Your father is probably not a controlling and manipulative sociopath (and, you know, small mercies and all that ...) but even so, how many of us would find it easy to step up and admonish him, when he steps over the line?

Donald Sutherland's performance as the sociopathic pater is astonishingly good. He actually had me shouting at the screen. And I'm British. We just don't do that ...

Give this movie a go. You won't find the experience entirely comfortable, nor will it be an escape from the rigours of the world (because there's too much of the world in the movie) but it will make you laugh, wince, cheer and, most importantly of all, it will make you think.

symbolic
There is a scene in the middle of the movie when Alex takes his son to see his grandfather, who has bought him a birthday present. It is the most interesting scene of the movie, and the heart from which everything else should radiate. It is the only time that Alex, his father, and his son are all onscreen at the same time and you realize that this is the conflict that is killing Alex -- he is his father's son, cynical, secretive, and ruthless, but he is also equally his son's father -- innocent, curious, and affectionate. Framed that way, both his father and his son can be seen as reflections of his own psyche. The reason why he is so blank, so tired and depressed, is that they cancel each other out. By then end of that scene I knew how the movie had to end.

The side story involving Neve Campbell isn't very interesting.

Great movie -- what a cute little boy!
The boy who plays Sammy, the hit man's son, is about the cutest thing I've ever seen! He's just darling! He reminds me of that kind from Jerry McGuire -- "the human head weighs 8 pounds" Soooo cute!

The rest of the movie was pretty good, but I just loved the little boy's scenes! ... Read more

Amazon.com

When Sarah (Neve Campbell) strikes up a conversation with a sad-eyed man called Alex (William H. Macy) at her therapist's office, she asks, "Are you one of those middle-aged guys who's tired of his marriage and thinking maybe a beautiful young thing could help him out?" She's right, but the source of Alex's depression is far from typical: he's a second-generation hit man who wants out, but his mom and dad won't let him quit.

Donald Sutherland makes Alex's laconic and utterly monstrous father the most frightening parent since John Huston in Chinatown. A series of flashbacks show how he introduced Alex to his trade, beginning with shooting squirrels in the woods. We never find out whether Alex's father has mob connections, and the fact that it's just a business to him ("This one's a big job, lots of moola, I'll buy your mother a Lexus") makes him all the more chilling. Alex's mother (the steely Barbara Bain) knows all about the family business, but his wife (Tracey Ullman) thinks he runs a mail-order company, and the only person he confides in is a therapist (John Ritter). When he meets and falls for Sarah, Alex realizes that he alone can stand up to his father, and he needs to act before his own son becomes the next apprentice.

Henry Bromell's debut film as a writer-director probes the same dark corners of the middle-aged male psyche as American Beauty and The Sopranos. Alex's tormented life is a symbol of the damage that parents can inflict on their children, and Bromell imbues his story with a tragic inevitability. Panic received a shamefully limited theatrical release, in spite of its rare combination of a great script and brilliant performances. It deserves to be rediscovered and appreciated by a much larger audience on home video. --Simon Leake ... Read more

Reviews (37)

A Small Masterpiece
This film needs your support! It was apparently completely disregarded by critics when it played theatrically... Written and directed by Henry Bromell, writer-producer of the Baltimore-lensed HOMOCIDE TV series, PANIC is a tight little masterpiece (clocking at less than 1 hour and 25 minutes) of ensemble acting and superior screenwriting. All principal actors hit just right notes in their roles, from William H. Macy (one of the best actors currently working in the US, who single-handedly made my experience of watching ultra-sophomoric FARGO durable), Donald Sutherland, John Ritter, Barbara Bain (Remember MISSION IMPOSSIBLE?), Tracy Ullman (TRACY ULLMAN?!) and, oh, Neve Campbell. The characters are so well-written and so devoid of historionics that some viewers may actually suffer from disorientation, adjusting their brains from the state of overexposure to usual mind-numbing stereotypes in Hollywood movies. Ritter's psychiarist, for example, is one of the two or three among hundreds of psychiarists I have seen in Hollywood movies who actually behaves like a NORMAL PSYCHIARIST and acts SENSIBLY. (MUCH superior to Lorraine Bracco's shrink in THE SOPRANOS) David Dorffmann plays Macey's son, and even though he is supposed to be a super-smart kid, he is NEVER annoying. The scenes are all underplayed with minimum of melodramatics, but they nonetheless pack emotional wallop. The quiet, beautifully lit sequence in which Donald Sutherland introduces the child version of the Macey character to "family business" is not only absolutely chilling, but also immesaruably sad. PANIC reminded me of Paul Schrader's AFFLICTION and Claude Chabrols' morally complex thrillers, such as THIS MAN MUST DIE. It is also like a particularly well-made 1950s film noir suffused with psychological insight ordinarily missing from them.

The DVD version includes a generally informative if a little reticent commentary by Director Bromell, and six deleted scenes. The deleted scenes provide additional background information for characters and deepen our understanding of them, but they also include some stilted and overblown dialogue completely absent in the actual film, the reason I suspect they were in the end dropped from the final product. I am a little disappointed that the audio commentary does not come with Macey, Sutherland and others discussing their acting strategies, given the fact that this film's success depends so much on their contributions, but this is nit-picking. I definitely recommend this movie for anyone who is a fan of Macey, Sutherland, Campbell and those who appreciate morally complex human dramas and/or thrillers. NOT RECOMMENDED, however, to those who want an action film like AIR FORCE ONE or a "quirky" movie like FARGO.

It's Hard Being Someone's Son
It's amazing to me that this film wasn't released as widely as, say, Memento or even Sexy Beast. It is an absolutely superb film featuring William H. Macy(Fargo) in his finest performance to date as Alex, a second-generation hitman railroaded into the business by his controlling monster of a father, played by Donald Sutherland(JFK).

The first thing that should strike any viewer about this movie is its cast. There isn't really a weak link in this movie, even though it does feature Neve Campbell. Campbell's performance, incidentally, really says something for Henry Bromell's direction: she's actually convincing, cast against type, and gives her strongest performance to date as the troubled love interest Alex meets in his psychiatrist's office.

The extreme circumstances featured in this film -- i.e. a middle-aged hitman seeing his shrink -- are really only a metaphor for the mid-life crises of half of America's middle-aged men, who went unwillingly into their father's businesses and sacrificed their own dreams. This movie is not about a love affair or a hitman; it is about how hard it is to be someone's son in America, about the expectations placed on men in our society and the outlets which we are given and which are denied us to express ourselves. Perhaps Neve Campbell herself delivers the most telling line in the film: "It's easier being a man, don't you think?" to which wife Tracy Ullman replies only with a knowing look, then turns her back.

It's a shame this film was overlooked. Henry Bromell's debut as writer-director on this film proves one of cinema's finest. William H. Macy gives the strongest performance of the year, far outdoing Russell Crowe's unintelligible stone-faced Maximus; it is also Macy's greatest role, the culmination of every unsure forty-something he's played. Do yourself a favor and see this movie. Then go home and love your son.

The Sins of the Father ...
What a find this movie was. Subtle, tense, occasionally laugh-out-loud funny and ultimately satisfying.

A hit-man wants out of the family business, and in to the pants of Neve Campbell. Which, I suppose, makes him a murderer and a philanderer. Not that you'll feel anything but empathy and compassion for William H. Macy's character: which, of course, is his genius.

In a story that explores, among other things, the whole family dynamic - from the damage our parents do us, to the effort needed to make a marriage succeed - you'll find it all rings true. The context of the story is alien and exotic, but the relationships aren't. Your father is probably not a controlling and manipulative sociopath (and, you know, small mercies and all that ...) but even so, how many of us would find it easy to step up and admonish him, when he steps over the line?

Donald Sutherland's performance as the sociopathic pater is astonishingly good. He actually had me shouting at the screen. And I'm British. We just don't do that ...

Give this movie a go. You won't find the experience entirely comfortable, nor will it be an escape from the rigours of the world (because there's too much of the world in the movie) but it will make you laugh, wince, cheer and, most importantly of all, it will make you think.

symbolic
There is a scene in the middle of the movie when Alex takes his son to see his grandfather, who has bought him a birthday present. It is the most interesting scene of the movie, and the heart from which everything else should radiate. It is the only time that Alex, his father, and his son are all onscreen at the same time and you realize that this is the conflict that is killing Alex -- he is his father's son, cynical, secretive, and ruthless, but he is also equally his son's father -- innocent, curious, and affectionate. Framed that way, both his father and his son can be seen as reflections of his own psyche. The reason why he is so blank, so tired and depressed, is that they cancel each other out. By then end of that scene I knew how the movie had to end.

The side story involving Neve Campbell isn't very interesting.

Great movie -- what a cute little boy!
The boy who plays Sammy, the hit man's son, is about the cutest thing I've ever seen! He's just darling! He reminds me of that kind from Jerry McGuire -- "the human head weighs 8 pounds" Soooo cute!

The rest of the movie was pretty good, but I just loved the little boy's scenes! ... Read more

Reviews (6)

An interesting movie
Well there are two stories to this movie, that sort of tie together. As you may assume from the title, an underlying theme in this film involves letters. While this isn't addressed too much except for the first story, the theme is present durring the film.
The first story deals with a woman who has moved into an apartment and how she deals with what she finds out about it, and its previous occupant.
The second story is that of a man who is invited out from the UK to stay with a family in the US who is hosting a woman from Bosnia (I think it was Bosnia). Anyway, he is brought out in hopes of marrying her so she doesn't have to return home to a war torn country.
The acting is ok, the film is rather low budget, and there are no extras on the dvd (in fact there are no chapters as the movie in whole is 1 chapter). This stories are slow, and a bit depressing. So why 3 stars do you ask? Well I'm biased a bit. I'm one of the uncredited pool players in the second story. My little claim to cinematic fame. :)

If you like stories that tie together, or have an interest in seeing some seens from the bay area in a movie, or just want a inde sort of film, check this one out. Otherwise, it probably won't do much for your interests.

A Quiet, Compelling Drama
This quiet drama from first time filmmaker Mark Tapio Kines is intriguing and poignant. The film is separated into two stories: The first, "Dear Jenny", is about Melody (soft spoken and sweet voiced Melanie Lynskey), a young woman who has moved into a new apartment and begins receiving mail for its former occupant, Jenny. She is curious about the relationship Jenny had with Marcel, the man who keeps writing to her. Should she respond to Marcel's letters? Melody becomes increasingly compelled to get in touch with Marcel and unravel the story of the mysterious girl who once lived in her apartment. The question is, will she be able to deal with the information she'd uncover? It's not all wine and roses.

The second part is called "Love, Trevor", and is about a young man named Trevor (Corin Nemec with a not quite authentic British accent) who travels from England to the United States to visit his pen pal Mira (a refreshing performance from Yelena Danova) who is from Sarajevo but staying with a host family. The trouble is, she will be deported soon and the unsuspecting Trevor has been asked to visit for the purpose of marrying Mira to help her stay in the United States. The only kink in the set up is that Trevor really doesn't want to get married, even though he admits to his buddy Ian (the likable Steve Valentine, a true Brit with the dead on accent to back it up) that he's attracted to Mira, he's not in love with her. He does feel guilty, though. Ian tells him, "Lust and guilt won't last three years". Trevor ponders this moral question -- should he marry someone he loves as a friend but not as a life partner? And if he doesn't, will she be in mortal danger when she returns to her country?

Dear Jenny had a sense of mystery while Love Trevor had me intrigued. I HAD to know who this Jenny girl was and what happened to her and Marcel and I HAD to know which choice Trevor would make. Each story was very compelling and also had a hint of sadness as they mirrored broken relationships, loss, the frustration of indecision and the agony of guilt. In the end, both Melody and Trevor DO make their final choices and must live with the consequences.

The ending left me pondering my own choices in life. If you like introspection and quiet, thoughtful dramas, Foreign Correspondents will be perfect for you. Don't miss Wil Wheaton (Stand by Me, Star Trek TNG) as Jonas, a member of Melody's Neighborhood Watch group who develops a crush on her. He has a line that just makes one groan and grimace but at the same time it hits a nerve. You'll know which one I mean when you hear it.

Overall I enjoyed Foreign Correspondents -- especially the performances of Yelena Danova and Steve Valentine. My biggest complaint is Corin Nemec's hair, which never seems to look good no matter what movie or TV show he's in. His fake Brit accent was a bit distracting because I was so familiar with him as an American, but as the story unfolded I soon accepted him as a Brit. For a first film, this is an excellent piece of work and quite moving.

Unique, touching and thought-provoking
Mark Tapio Kines had side-stepped the cliches of the industry and made a movie that is thought-provoking, sensitive and a departure from the usual run-of-the mill fare. Starring New Zealand's Melanie Lynskey, Wil Wheaton (charmingly funny as the neighbour) and Corin Nemec, Foreign Correspondents wevaes two stories into one and gives us an insight into relationships and love lost and found.
Many elements of the film are subtle, indeed I had to watch it twice to pick up the nuances - I enjoy being required to think about what I am watching.
Mark's commentary is enlightening and entertaining and worth listening to after you've watched the feature.
I'm looking forward to Mark's new film project, (tentatively titled Claustrophobia) with great anticipation
The DVD is region-free, it'll play on any DVD player

Review for ¿Foreign Correspondences¿
There is something inherently romantic about receiving a hand written letter from a foreign country. This is all too enticing for each of the lead characters in "Foreign Correspondences". Director and writer Mark Tapio Kines explores the journey of two young individuals looking for love and acceptance only to have their pursuit complicated by their well-meant intentions going wrong. There are poignant performances by Melanie Lynskey and Corin Nemec as they portray characters that are both strong and completely fallible. Each of the stories are memorable and honest, you will be embrace by this sincere film.

Intelligent film about trying to find love in foreign places
This film is written by the director, which allows him to present his purpose in the way he intended it. It presents a world of misunderstandings, mistaken objectives, and rather ordinary characters trying to fit into a society not of their making. It's a story of lonely young people searching for love, but it could be about people of any age. Loneliness knows no age or gender. The film has a number of rather humorous scenes and the music is outstanding. The director's comments add to the interest in the story. ... Read more