So well, Mihir turns three next Tuesday and I simply cannot get over the fact that my baby’s a big boy already! Imagine, he’ll be starting big school this June! I was going through my blog this past hour and it feels so wonderful to read the little I’ve written about him, that I’m feeling very guilty to have missed recording all the little joys from his entire third year here. Ingenious, how simple and yet how devious the solution is.Baby M is not a baby anymore! I really should start using his real name now, given that our identity is not such a big secret (with the link to my other blog).
My secret identity is his black driver movie#
"Identity" is a rarity, a movie that seems to be on autopilot for the first two acts and then reveals that it was not, with a third act that causes us to rethink everything that has gone before. I've seen a lot of movies that are intriguing for the first two acts and then go on autopilot with a formula ending. And there is something to be said for the performance of John Hawkes as the motel manager, although I can't say what it is without revealing a secret (no, it's not the secret you think). I also liked Peet's hooker, who suggests she's seen so much trouble that all of this is simply more of the same. His character is a competent and responsible person, while all about him are losing their heads (sometimes literally) and blaming it on him. Can they keep their self-respect while jammed in a room while grisly murders take place, everybody is screaming and blaming one another, heads turn up without bodies, bodies disappear-and, of course, it is a dark and stormy night? Cusack does the best job of surviving. The director, James Mangold, and the writer, Michael Cooney, play fair, sort of, and once you understand their thinking you can trace back through the movie and see that they never cheated, exactly, although they were happy enough to point to the wrong conclusions.Ī movie like this is an acid test for actors. I think it is possible that some audience members, employing the Law of Economy of Characters, so usefully described in my Bigger Little Movie Glossary, might be able to arrive at the solution slightly before the movie does, but this isn't the kind of movie where all is revealed in a sensational final moment. That I must not hint at it also goes without saying. That there is an explanation goes without saying. Although many in the group fear a mad killer is in their midst, and the Busey character is a prime suspect, some of the deaths are so peculiar it is hard to explain them-or to know whether they are murders, or a case of being in the wrong place at the wrong time. I will not describe them in detail, of course, since you will want to be horrified on your own. While lightning rips through the sky and the electricity flickers, gruesome events start to occur. The motel manager ( John Hawkes) finds them all rooms-numbered from 1 to 10, of course. McGinley) tenderly cares for his gravely injured wife (Leila Kenzle) while his solemn little son (Bret Loehr) looks on.Īlso at the rain-swept rendezvous are the movie star ( Rebecca De Mornay) who Cusack was driving a hooker ( Amanda Peet) on her way out of Nevada, and a young couple ( William Lee Scott and Clea DuVall) who recently got married, for reasons still in dispute.
There's another cop ( Ray Liotta), who is transporting a killer ( Jake Busey) in leg irons.
My secret identity is his black driver driver#
The group gathered at the motel includes the limousine driver ( John Cusack), who says he is a former cop and seems kind of competent. We know the formula is familiar, and yet the treatment owes more to horror movies than to the classic whodunit. We don't know yet how these two stories will intersect, although they eventually must, but meanwhile events at the motel take our attention.
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