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There is a vacant numbness you feel throughout the entire film because you know exactly what is going to happen next. Every element is fairly standard, drawing on several tropes and predictable feints in vain attempt to elicit real emotion. Coincidentally, the film does shine during the few fight sequences in the film, providing a much welcomed change in pacing and camerawork.Ĭassar does what he can with the minimal story first time screenwriter Jack Olsen provides.
#LIFETIME MOVIE WHEN THE BOUGH BREAKS ENDING SCENE TV#
His style is basic for television, which is where the brunt of his experience resides, but comes off as pallid and TV movie-esque as a film. The mechanics are completely different and involve more nuance than the predictable, heavy-handed approach Cassar delivers. Morris Chestnut and Regina Hall Being Watched in ‘When the Bough Breaks’ĭirector Jon Cassar shows that he is more experienced with action sequences than he is elevating a horror/thriller film. The only thought you might leave the film with is, “Wow, they’re going to need a good lawyer.” The biggest problem with “When the Bough Breaks” is how easily it clears your mind as soon as it’s over. I can remember every Adam Sandler film as well as I can remember every Steven Spielberg.
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At least if a film is at either extreme of good or bad, it tends to be memorable. One of the worst things a film can be is “okay”. This predictability is both its greatest strength and weakness, but the predictability that is the nursery cautionary tale in “When the Bough Breaks” is anything but a strength. Most of us could hear the melody and be able to sing the words along with it. When the Bough Breaks could have offered some cheap thrills, but it ends up a neutered, paint-by-numbers snoozefest, not even worthy for cable syndication.CHICAGO – Popular nursery rhymes are told to children as a way to calm them, but also as some kind of cautionary tale. If only someone had hit the gas on the script. Let’s just cut straight to the part in the third-act climax where, after tussling about in John and Laura’s lake house (which they spoke about incessantly throughout the film, so no surprises there), Ashley stands, bleeding and vengeful, shotgun in hand, in front of John and Laura in a car, right in front of her: “I am sick and tired of this bitch!” Laura yells as she inevitably guns it. Let’s not even get into how Ashley ruins John’s ascent to partner at his law firm, or the aforementioned cat. She begins to have feelings for John, resentment for Laura, and maybe this thing is a scam after all when detective Roland ( The Wire’s Williams, looking bored beyond belief) uncovers Ashley’s past of sexual abuse, murder, and chicanery. He is dispatched posthaste, and Ashley is settled into the couple’s extravagant home in New Orleans.
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Of course, Ashley comes with a sleazy, abusive boyfriend Mike ( Sons of Anarchy’s Rossi, who is incapable of telegraphing anything other than trouble). Successful lawyer John (Chestnut, exhibiting an acting range limited to three emotions: seductive, annoyed, and pissed off) and successful chef Laura (Hall) have been trying for years to have a baby to no avail, so when ideal surrogate Ashley (Sinclair) comes along, they jump at the chance to inject their last viable embryo into her. You think that house cat they keep cutting to is going make it through the movie? Oh, to be that cat. This latest iteration in the “psycho third wheel” genre offers up absolutely no surprises, and is probably one the most dull and predictable films in this wasteland filmgoers call September. I don’t know about you, but when I settle in for a nice big slice of the latest Fatal Attraction knockoff, it had better take things above and beyond the hundreds of Lifetime movies that have come before it.