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Fateful Findings ist ein unabhängiger amerikanischer Science-Fiction-Film aus dem Jahr , der von Neil Breen gedreht, geschrieben, produziert, bearbeitet und in der Hauptrolle gespielt wurde. Er war auch für Produktionsdesign, Bühnenbild. its-napa.eu - Kaufen Sie Fateful Findings günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Fateful Findings is a American independent film directed, written, produced, edited by, and starring Neil Breen, who was also in charge of production. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Neil Breen is the man. Ergötzt euch ein weiteres Mal an seinen schauspielerischen Fähigkeiten. Fateful Findings ist nur eines seiner vielen cineastischen. Fateful Findings. Gefällt Mal. Neil Breen's new Feature Film FATEFUL FINDINGS. its-napa.eu Leider ist Fateful Findings derzeit bei keinem der auf Moviepilot aufgelisteten Anbietern zu sehen. Merke dir den Film jetzt vor und wir benachrichtigen dich.
Kill! to trash masterpieces such as Miami Connection and Fateful Findings, thousands of movies have been labeled as cult films throughout the years, and new. Besetzung und Stab von Fateful Findings, Regisseur: Neil Breen. Besetzung: Neil Breen, Danielle Andrade. Let's try this again! In the spirit of Valentine's Day, let's get together and share some drinks & snax while we watch the Neil Breen masterpiece 'Fateful Findings',.
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Edit Cast Cast overview, first billed only: Neil Breen Dylan Klara Landrat Emily Jennifer Autry Leah Victoria Viveiros Amy as Victoria Valene David Silva Jim John Henry Hoffman Lee Gloria Hoffman Andra Danielle Andrade Aly David Scott Rosen Steven Nelson Bank President David Miranda Log In.
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How did you buy your ticket? View All Photos 4. Movie Info. A boy develops amazing mystical powers and uses them as an adult to hack government databases.
Neil Breen. Aug 10, Jennifer Autry Leah. Klara Landrat Emily. Brianna Borden. Danielle Andrade Ally. Neil Breen Director.
Neil Breen Screenwriter. Neil Breen Producer. Neil Breen Film Editor. Neil Breen Production Design. July 25, Rating: 0. View All Critic Reviews 2.
Jan 22, Ever since the ascent of Tommy Wiseau's The Room atop the dung heap mountain of midnight movie fare, the world has been avidly searching for the next so-bad-it's-amazing film.
There have been several contenders over the years, most of which were amusing, such as Troll 2 or the original Birdemic, but some of which made you consider the value of life itself, such as 's After Last Season.
Oh, that one still makes me wince. Don't even see that one. But as a lifelong lover of all things cinematically terrible, thanks in part to growing up on a healthy appetite of Mystery Science Theater , I am compelled to seek out the worst of the worst.
The Room is one of my favorite movies of all time; my love for it knows no heavenly bounds. I have to sniff out anything that comes remotely close to replicating that wonderful experience.
Enter Las Vegas realtor and architect Neil Breen. He sent it out blindly to distributors looking for any takers. It just so happens one bit, and now Fateful findings is gearing up for a nationwide release specifically targeted at the midnight movie crowd that made The Room the sizeable cultural hit it is.
Like Wiseau's accidental masterpiece of cinematic miscalculation, Breen's film is awash with bizarre directing choices, curious line readings, painful acting, subplots that come and go as they please, a lack of resolution, characters that behave more like aliens than human beings, odd camera framing and compositions, and, naturally, an ending that must be seen to be believed.
For fans of woefully bad cinema, there's a lot to dig in and I've got my knife and fork. First, I want to describe four of my favorite things about Fateful Findings and Breen.
The mushroom disappears, revealing a box, and inside is a black rock. Young Leah then says, twice, "It's a magical day! But this opening scene isn't done with its magic.
We flash forward many years to an adult Dylan Breen , who looks at least ten years older than the adult version of Leah Jennifer Autry. Prepare for the sudden time jump shock.
Anyway, Dylan and Leah never saw each other again after that magical summer that is Anyway, the way that these two people reconnect is that adult Leah bumps into adult Dylan and drops, what for it, the SAME notebook.
Who doesn't bring a year-old notebook with them to a barbeque? I saw it. I'm a witness. The speeded-up sequence itself is just hilarious to watch, especially since the car appears to be going rather slowly in the previous shot.
Anyway, Dylan recovers in a hospital thanks to the black rock reviving him make note when the EMTs arrive and their lagging sense of urgency.
The collection of rubberneckers gathers at the accident scene, including one gentleman who, God bless him, attempts a British accent out of the blue, reciting the above line.
I'm sure it would have been in question since the one car resting right next to the injured man is covered in his blood how much did that cost to rent and splatter a car like that?
It's at the hospital where Dylan unknowingly meets the adult Leah for the first time. She's a doctor and pronounces Dylan "semi-comatose.
After his miraculous revival, Dylan leaves the hospital and re-enters his home, taking a shower. His wife, Emily Klara Landrat, a former model , steps into the shower with him and happily embraces her man.
Except beforehand we see a shot of his feet in the shower and blood is profusely streaming down his leg. Remember, all this is from a head wound, so how much does his head have to be bleeding to get down his leg?
The shower is filled with blood, Dylan's bandages are blotted red, and she steps inside. What kicks this entire sequence even higher in hilarity is that Dylan's facial bandages actually cover his ENTIRE mouth and nose, with no indentations for him to breathe.
When he detaches the oxygen mask, you'll see there's nowhere for him to actually breathe. Damn you, Obamacare!
This dichotomy is illustrated by the fact that Dylan has four laptops out at all times, none of which are ever really turned on.
Why four? Why not? He pounds away, literally, trying to complete his next book, but when his temper arises, he almost always takes it out on the poor laptops.
This is a very abusive film when it comes to laptops. My favorite moment is when Dylan is holding a cup of coffee and it looks like he's going to spill it on that laptop.
It's a ten-second sequence that leaves you on the edge of your seat, finally ending in an even greater comic punchline.
At another point, Dylan throws two books into two laptops before holding back his incalculable rage onto a third laptop.
The only way people communicate is by throwing things in this film. You could turn Dylan's tortured mistreatment of laptops into a drinking game. I cannot believe you killed yourself.
I can't help you out of this one. The dialogue itself is rather plain, so it's weird that Breen and company feel the need to keep repeating themselves, as if we're missing some deeper hidden meaning.
We're not. Breen has described his film in interviews as a genre-bending psychological thriller, and while some of those elements may be present in the faintest, most diluted distillation, the man's movie is really the long story of two marriages coming apart.
Dylan's marriage with Emily hits the skids when she gets addicted to his pain medication, but neither person seems to treat this as the serious development it is; what makes this worse is that Dylan enables her addiction.
He keeps getting her the meds when he clearly no longer needs them. It seems once his childhood sweetheart re-enters his life, Dylan just forgets he has a wife.
The other marriage consists of Dylan's bickering neighbors, Amy and Jim David Silva , and they really have no impact on the greater plot whatsoever, and yet Breen's film wastes so much time on their story.
They're unhappy. He wants sex. She doesn't. Eventually in the heat of the moment Amy does something impulsive and very criminal, and the movie treats it like any nominal plot moment.
A vital witness to this crime doesn't bother speaking up until fifteen minutes later in the film, as if they just had some nagging chores to do before alerting others about a serious crime.
Perhaps Jim and Amy are, in some twisted perspective, Breen's idea of comic relief Jim's exaggerated "drunk" movement, throwing drinks on one another, etc.
And then there's the supernatural story that permeates the edges of the film, popping in from time to time to remind you during the marital discord that, oh yeah, there's a mysterious ghost or something or other.
The supernatural stuff begins muddled and unexplained and never really clarifies. It's thanks to the black rock, which Dylan refers to as a cube, that he's able to survive being hit by the car.
If that's the case, then I don't think I'd ever let that sucker out of my pocket. I'd glue it to my hand.
Inexplicably, the rock also gives Dylan the ability to transport himself through walls, though he only does this once and never explains how he knew.
The way we know something "magical" is happening is when a little puff of grey vapor appears onscreen. Is it a spirit, a malevolent force?
Does it have anything to do with this stupid book that keeps haunting Dylan? I feel like Breen is patterning himself after the work of David Lynch, except that Lynch's films, which can consist of weirdness for weird's sake, have cohesion, a vision.
Fateful Findings has the occasional supernatural entity, but it's rarely examined, and then we're off to the next subplot as if spinning a board game wheel.
Then the supernatural angle, which is only barely toyed with, and with such peculiar indifference, is abandoned and the movie wholly chases after another storyline.
The movie's final focus is on Dylan's super secret hacking uncovering all sorts of vague secrets and corruption from governments and corporations "As president of The Bank Throughout the film, Dylan keeps mentioning this but it never seems terribly significant, at least judging by the characters' actions.
It isn't until the very end where Breen spends more than a passing interest in this subplot, because we have more important storylines to feature, like Ally Danielle Andrade , his neighbor's teen daughter, inexplicably trying to seduce him.
It comes out of nowhere and is just as quickly pushed aside I also wonder how old Ally is supposed to be.
Allow me to thread an analytical narrative to make sense of these dispirit storylines. Assessing the film, it sure comes across like Breen's attempt to bolster his sense of self.
In every scenario, people treat him as a treasured human being, he's at the center of a diabolical conspiracy, he's gifted with magic powers that separate him from normal men, all women want to seduce him, and then in the end he's the one who makes the world a better place by exposing corruption.
It sounds like a hero complex to me. In this universe, Dylan is always right, always desired, always respected, and always special.
The production has a hard time hiding its obvious shortcomings, sometimes hilariously so. It becomes clear very early that most of the film was likely shot in Breen's home, which is fine except it also unsuccessfully doubles as other locations the blinds are the big giveaway.
The worst is the hospital room, which mostly consists of a bed and three oxygen canisters. What hospital room is going to have carpet? So much of the movie takes place in Dylan's home office, with that plethora of laptops, that you'll start to memorize the home layout.
In the opening, with Dylan and Leah as kids, we're shown modern-day vehicles and then flash forward at least 35 years. Could Breen not have shot the scene with some older vehicles?
Then there are Dylan's two therapist's offices. The first one is the guy who keeps prescribing pain meds. Perhaps to communicate his overall incompetence as a doctor, Breen stages all of the therapy scenes in a conference room with both men sitting as far apart, at either end of the long conference table.
What better way to foster patient intimacy? He also magically switches jackets in the middle of one session.
The second therapist operates in what looks like a closet, and the only thing we see are two folding chairs. She may not really exist, or was in on the unexplained supernatural conspiracy, so perhaps the old lady therapist didn't feel like putting that much effort into decoration.