thriller CITADEL. Consequently, as good -- dark, decaying, ugly, ghastly, gory -- as much of his movie is, one of those unsightly and offending red flags arises almost as soon as that baby comes upon the scene. Given over to the care of her only remaining parent, Dad, who -- from what we can tell by scene two of the film -- is a basket case, this poor baby could barely have survived up to now, let alone what she is soon to be put through.
Aneurin Barnard, above and below), maintains a near-constant, bug-eyed state of terror, grabbing the poor little tyke, crushing her to him, then running around screaming like a nut-case and dragging his kid with him. If baby isn't totally fucked up already, she soon will be -- and probably for the rest of her life.
James Cosmo, above, left): He's one of those movie characters who becomes whatever the filmmaker needs him to be at the moment -- nutcase, helper, hero, explainer of the movie's entire back-story (wait until you get a load of the humongous exposition on display!) -- and then suddenly he's simply expendable.
Jake Wilson, shown above, with Tommy), who goes from being unafraid (and thus unseen by the evil ones) to suddenly absolutely afraid. Tommy, on the other hand goes from constantly terror-stricken to absolutely cured of fear. Ah, well: the magic of movies.
Wunmi Mosaku, above, right) seems equally out of place. Does she really think everything is OK, as she tries to convince Tommy, or is either she or he nuts? The movie often feels as if the filmmaker is making this whole story up as he goes along.
Tim Fleming) and edited (by Tony Kearns and Jake Roberts) to a fare-thee-well, it keeps you hooked by virtue of its swift pacing and terrible ugliness.
Cinedigm & Flatiron Film Co., and running just 84 minutes, opens this Friday, November 9. In New York City, it's playing at the Angelika Film Center. Elsewhere around the country, who knows? And the film's web site is no help here.