If Alfred Hitchcock and Edgar Allan Poe got together to do their own version of The Matrix, it would look a lot like Richard Kelly’s The Box. The Donnie Darko director returns with a morality tale that twists and turns around a complex story like barbed wire around a rose. No matter what notion you have of the film going in, you’ll have a drastically different one coming out; that I can guarantee you.
Nervous about the waning light, I slid the silver key into the lock and twisted it. I’d wanted to come here by myself first so I wouldn’t get all emotional in front of the real estate person, but maybe I’d made a mistake in venturing here alone.
About ten years ago, my father turned our rambling farmhouse into a restaurant. He made a go of it for a good long time until the economy turned bad and his health failed him.
Now I stood in the entranceway, staring at the hostess station with its oak counter that my father had made. The grains matched perfectly; dad would have had it no other way. The lemon scent of the wood polish he always used transported me right back in time. I felt the tears rush to my eyes. Now I was an orphan. No brothers and sisters, no spouse. Get a grip, Laura.
A sudden noise made me nearly turn around and run. Read the rest of this entry »
There are 14 entries for the word “classic” in my thesaurus, a fact I noted when beginning my first blog for Creative Loafing’s film section. The reason I reference that particular adjective is because my first entry here deals with the historic Tampa Theatre and this past Sunday’s showing of Creature from the Black Lagoon in 3D.
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