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Some have called this movie comical, shallow and poorly written, directed and acted. Do they actually assume it is a romantic thriller? Its correct subject is reality cinema. Independent films have fallen on monotonous times lately, having peaked at all the awards shows three years ago. That writer-director Matthew Parkhill has tweaked the genre while leading us in another direction entirely is so clever that Alfred Hitchcock himself might have cracked a smile.
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Not that “Dot the i” pretends to match the master. But it does have the oblique concept of human nature and shadowy motive that he liked. This little-known movie would be too clever for its bear righteous were the script itself not so clever or so top-notch. It succeeds by alternating scenes of suspense and surprise that, in retrospect, get perfect sense. The artists who made this film about artists like themselves haven’t missed a trick. Critics who dismiss their accomplishment dismiss indie films, and we don’t want that, do we?
A jobless Brazilian actor (Gael Garcia Bernal, he of the killer smile in his first English-speaking role) and a quick-tempered flamenco dancer meet cute in London on the eve of her wedding to a rich Englishman. All three bring to this triangle doubts about their absorb securities and commitments. One thing is clear: all three rightly suspect the other two are concealing something. As the sage unfolds in several directions at once, we realize how devious the plotting has been and, in the final sequence, how slickly we’ve been conned. What a sweet surprise!
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“Dot the I” is a bright and unpredictable film, which usually comes around at least once a year. The shroud of the film says “This Years Memento” and I’d say that’s a blooming statement although this movie isn’t quite as qualified as that movie. The thing I respected about this movie was that once your handed the first twist, you reflect you know what’s going on. Then they throw something else at you and you’ve got it figured out. But they have one last thing in store before it reaches its raze. The movie stars Gael Garcia Bernal as Kit, an enemployed actor who lives in France and meets Carmen (Natalia Verbeke) at her Bachelorette Party. Due to an French tradition, Carmen has to lift a man in the restaurant to kiss. Her last kiss as a free woman. Carmen picks Kit and shares a kiss that makes her rethink her marriage completely. Carmen’s fiancee Barnaby (James D’Arcy) is tremulous about what’s going on with his radiant fiancee, as Carmen (semi-reluctantly) starts an affair with Kit. The movie is really attractive to a point where you’re reluctant to fetch up. It’s in the vein of films like “Memento” or “Match Point” or “Mulholland Dr.” but it’s not quite as sunless or peevish as those movies; This is one of those intellectual films that teenagers will like and adults will luxuriate in. All the actors, especially the hot Verbeke, are ample and writer/director Matthew Parkhill shows an mountainous talent.
GRADE: A
