Rhinoceros Eyes (2004)

This movie is a definite psychological thriller. You really have to think about it. I just recently finished watching it and I thought that Michael Pitt's performance was classic. He did such a good job. Gale Harold as well made an amazing performance. Who knew that boy could dance? Although it's definitely a thinker and it's like you have to be in a certain mood to watch it, it's definitely worth the money. There's really not anything like it out there. One of a kind. The timing and the camera angles were perfect. It was clear and sharp. If you like thriller and suspense movies then this is one for you. It gets you to the point of confusion and wonder. Almost like as if you need to pay close attention or you'll miss it. I loved it and I think you will too.

It is totally possible that I am not as gifted as others at analyzing films. I am certainly no critic, simply a chick who loves the movies. Personally, I enjoyed this one. It was dark, strange and surprisingly sweet. I won't pretend to be Ebert or the other guy by commenting on various camera angles, lighting choices, plot development or editing. I can only say that I was completely engaged in the story, genuinely concerned for the main character, and disturbed (in a good way) by the strange animation. I enjoyed it, you may not. Since its finally available on DVD from amazon.ca why not pick it up, watch it and judge for yourself? Don't go by what a bunch of people (including yours truly) with too much time on their hands have to say.

I was looking forward to this feature, and I took time off work, headed out and fought traffic to get to see it on the big screen at Madstone-- as in Madstone Theaters, the exhibition arm of Madstone Films, which was responsible for Rhinoceros Eyes. After watching it I came back and reread the comments and looked at the user votes again. Somehow these people must have seen a different item than the Rhinoceros Eyes I saw-- even though the cast and crew lists matched, the comments didn't jibe with what I saw. The clarity, content, and tonal range of the image was pathetic; what could have been an astounding set was crunched by some capture method or seriously degraded in post and turned into. . . into this, whatever it was. The lighting may have been some of the worst I have seen on a large screen, but even so, the image on the screen far outshone the story. At least, they called it a story, even though it was missing major elements, didn't really make sense, lacked continuity, refused to actually go anywhere, or come to a conclusion. One of the supporting characters seems to be smoking a lot of weed during this production; perhaps he was not the only one.Maybe, just maybe we have a new generation of video only kids who don't know colors, or contrast ranges, the importance of a storyline-- a plot-- or any of the other things that make up a modern "movie." That is the only reason I can see anyone allowing the public to see this; the makers just don't know better.This hurt. It comes off as a couple of kids, a camcorder, a great location, lousy lighting, half a story, and some actors who really, really tried. The actors have my most profound sympathy. .

As one of the 6 films I had a chance to see at the 2003 Toronto International Film Festival, it would have to be at the bottom of my list of recommendations. Slow doesn't begin to describe this somewhat "inspired" tale of a prop-shop worker named Chep (Pitt). Chep himself is a bit slow and experiencing some fantastical delusions. I felt like most of the movie, revolving around the search for some bizaar props, was filmed in ultra slo-mo. The dialouge was poorly timed, the acting was so muted it became painful (with the exception of supporting player Victor Ertmanis as "Sweets") to watch and the end so anti-climatic and directionless, I wondered how I would get those 90 minutes of my life back. I have read it compared to "Donnie Darko" and after seeing it, the only way that comparison works is that both carry a emotionally tortured lead characters. Pitt seems to summon more of a Giovanni Ribisi in "The Other Sister" (quietly endearing), than Jake Gyllenhaal in "Donnie Darko" (emotionally complex).Without being to harsh, Paige Turco as the object of Chep's affections is a total casting zero. It's not terrible, but not memorable. Hopefully first time director Aaron Woodley will step back a bit from his attempts to be so "indie profound" in his next project.