A boring wreck of a film, and a terrible waste of the talents of some usually excellent actors. Where can I start? Poorly shot on digital video, with a nearly nonexistent plot, lousy script, poor directorial choices that include jumpy editing and an annoying, extremely repetitious performance by Norman Reedus, who seems to be more interested in chewing his nails or smoking a cigarette than croaking another line of bad dialogue. More embarrassing is a very strange and unnecessary cameo by Sean Young, who really is going to the bottom of the barrel for a paycheck. I really felt sorry for Kathleen Robertson and Michael T. Weiss, good actors in a terrible movie, they deserve better, I just hope they were paid well at least! I saw this film at a special screening in Hollywood, and most of the cast and crew were in the audience and it received quite a tepid response, I guess they suffered a great deal watching it and didn't have enough energy to fake enthusiasm. I would advise you to avoid this movie, but it's so bad, I don't think anyone will put it out.
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Aries_Primal4 April 2014Not my kind of movie, but I really liked it. No pretending, no idealization, the things what they are. The idea is always more important than the acting, and here we have both done good. I just watched a movie with Norman Reedus yesterday and I think he is playing his part very well in this one too. One of the scenes I didn't like is the fight on the beach. Too identical scenes, too much time taken for them. And I think they should show more between Elizabeth and Robert, like contact, like conversation, like communication between them. We know they had something together in the past only because she mentioned it. The end was good for me, but I think they should show it if she get back to him. I really prefer that kind of movies, than actions with too much effects and chaotic fighting.
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The thing that struck me the most about this movie is that I felt like I was at a party in L.A. watching real people. Elizabeth (Kathleen Robertson) is a successful businesswoman who cannot admit her life is imperfect even to her close friends. She's married to Daniel (Michael T. Weiss), a once-hot actor who now can't seem to motivate himself to do anything but sit around and drink. She cheats on him in a desperate search for some kind of emotional fulfillment, but still feels so responsible for him that she cannot leave him and cares for him like a mother with a sick child. Elizabeth's ex-boyfriend, Robert (Norman Reedus), a fashion photographer, lives in a world full of plastic hotties who have nothing of substance to offer him - certainly not the intelligent and understanding ear he needs. Yet, he cannot seem to relate to his live-in girlfriend, ex-actress Mina (Missy Crider), in any way that doesn't involve a video camera. Karina's mood swings don't help things much. When Robert and Elizabeth encounter one another again, sparks fly and they fall back into an affair without thinking too hard about it, a move that impacts everyone's life.
It is ironic that the character who comes off as the most emotionally healthy in this film is Cosma (Sean Young), the Hollywood madam Robert visits for instant gratification. Cosma seems to understand the futility of it all and has chosen to have a good time rather than analyze things too deeply. This is a sharp contrast to Robert, who is so typically L.A. in this aspect - he would analyze the label on a can of soup. All of these characters are incredibly wrapped up in themselves. They are so inside their own heads that you want to slap them and say "Snap out of it! Go volunteer somewhere! You're young and attractive, you live in L.A. and your life does NOT suck!" Instead, they analyze and give vent to all of their emotions and self-destruct in various ways. So, so true to life. A brilliant character study with some truly fine performances, most notably Kathleen Robertson, Norman Reedus and Sean Young. I highly recommend it! -
Garon5 May 2005A dark and intense drama, Until The Night is packed with top notch performances from a first rate cast and boasts a darkly satisfying tale of lost love re-found and the heartbreaking acceptance of a failed marriage. Kathleen Robertson turns in an an astounding pitch perfect performance that rivals work done by most working actresses today. I only wish we can see more of her soon. Norman Reedus is great as usual. Greg Hatanaka brings us an intimate and haunting tale of heartbreak, love, and loss. Highly recommended. If you life in Los Angeles, these people may be your friends or enemies, boyfriends or girlfriends. Maybe even family.
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IrishGrrl9 September 2004saw this film at a screening in LA & must give kudos to this indie drama! The style & characterizations in the film were reminiscent of Mike Nichols and Cassavettes and the performances were amazing, each actor portrayed such depth in their characters. In particular, Reedus, Robertson & Weiss were mesmerizing. It was no Disney film, but a raw, steamy portrait of lost souls, all struggling to find something to complete them, make them feel worthy but instead continuing to make the same mistakes and poor choices again and again. A lot like real life but also infused with real-life humor and those moments in life when it all feels a little surreal. The film was beautifully shot & thought provoking and I hope it shows up in more cities!
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matthewfilm12 June 2005Until the Night is an intensely moody character study about two people who have grown disillusioned with their lives and relationships. Kathleen Robertson is superb as Elizabeth, a woman who struggles to remain optimistic about her failing marriage to washed-up actor Daniel (Michael T. Weiss). "We have a realistic kind of love," she reassures a friend, and herself, "no fireworks." Meanwhile, Robert (Norman Reedus), a failed writer and sometimes photographer, descends into alcoholism in the waning days of his relationship with former actress Mina (Missy Crider).
Over 40 minutes of the film pass before Elizabeth and Robert meet, giving Hatanaka plenty of time to build an atmosphere that really makes us feel as if these characters are falling into private oblivions. When they finally meet, we feel the promise of salvation, even though both we and them know the affair is ultimately doomed. Above all, Elizabeth needs and wants stability, and Robert is anything but that. Robert, on the other hand, is addicted to wanting what he doesn't have. Once he has Elizabeth, he'll go back to leaving countless messages on model Karina's (Sarah Lassez) answering machine.
At times, Until the Night feels repetitive. There are too many similar scenes of Elizabeth fighting with her husband or Robert annoying his girlfriend by videotaping her. But even when these scenes fail to advance the characters' development, they never spoil the gloriously oppressive mood. Yasu Tanida should be commended for his claustrophobic cinematography. The images take on a life transcending their budgetary limitations, making you forget you're watching an indie film, or even watching a film at all.
Until the Night is an organic experience. Nothing seems plotted, written or purposefully intertwined; it all feels real. Reedus and Robertson's virtuoso performances create true people. They aren't good or evil; they're just flawed. This is a brilliant first film for Hatanaka. May there be many more.