Solemplex To me, this movie is perfection.

Reptileenbu Did you people see the same film I saw?

Beanbioca As Good As It Gets

Freeman This film is so real. It treats its characters with so much care and sensitivity.

Navajas This is a movie that slipped under the radar, and now appears to be trying to gain some notoriety because it stars Jeffrey Donovan of the TV series "Burn Notice." I have to admit, it was a selling point for me, although the version I own came from a four-movie set that was sitting in a bargain bin.The story follows a young woman, Dina, who is unexpectedly pregnant and schemes, with her boyfriend, to sell the baby to another couple over the internet and, well, take the money and run. She tells her story to an older man who drives her to an unknown destination and tries to sell her "Jump to Conclusions" mats.Naturally, the plan does not go well, and most of the action takes place in one location--the home of the richer, more successful couple.The acting and action in this movie is actually pretty good for such an obscure find. Jeffrey Donovan is both intense and funny, and despite his natural smugness, he comes off as the most reasonable character.

furlong The prior reviewer is right about one thing and that is that the lead actress just doesn't carry this off. FYI to that reviewer...she DIDN'T survive. Didn't you notice that the cab driver's name is Peter (as in SAINT PETER) and she for no apparent reason starts telling him all her sins on this ride to no where in particular? Then in the end Peter just says it's "time to go" when all along they've been going no where and in no hurry. She's dead dude and that's supposed to be the big "revelation" at the end as to why "Peter" talks her through her sins and gets her to admit them and feel bad about them so she can enter heaven. Anyway it's pretty corny and let's face it the plot is just downright odd with far too many over reactions by all the characters within the story to be believable. I don't care how much that woman wanted a baby, one look at these people should give anyone pause about whether those are the genes you really want in a child you raise. Hate it, though, because Jeffrey Donovan definitely should get better uses of his skills than this wreck.

dbborroughs Jeffrey Donvan headlines in a flashback tale of two poor as dirt drifters who end up with a baby on the way. Hoping to sell the kid for upfront cash before disappearing into the wind they run into a couple with other ideas and a nasty edge.Dark dank and unpleasant neo-noir works in its own dark way. The question is will its sleazy edge click with you or not. The film didn't really click with me and I kind of floundered around as the nastiness happened on screen. Its a not a terrible movie, but I get the feeling that if Jeffrey Donovan wasn't in it this film might have not been released very widely. Some where around five out of ten, you'll have to decide for yourself.

Megan De Leon Paul Holahan's HINDSIGHT has a unique premise presenting us with the theme of being blinded by one's hidden agendas. When Dina and her boyfriend, Ron decide to sell their unexpected baby to desperate Maria and her husband, Paul, all four of them allow their wants to take over them and lead them to an unethical dark side in themselves. The film had a chance to be a thriller with substance, rather it showcased its theme repeatedly giving the thrilling moments less sting so tonally the film bordered on drama. Cutting back to Dina in the present, her narration and freeze frames made the situations at hand less frightening and less significant. Peter, the driver that picks Dina up in the beginning, states the theme through dialog even though the action in the past works as subtext to show us what the theme is. Further, Dina speaks so casually when she narrates and no one screams when they are victimized (except for when Maria and Paul argue over cutting Dina's belly open). It seems as if the musical cues that lead up to these big moments (like when Paul first attacks Ron) lead up to nothing because the tension is lost when important events happen. After Paul attacks Ron, there is a cut back to the present in which Peter tells Dina she thinks nothing is her fault. Then Dina repeats that statement by narrating that we probably think this is her fault. The attack on Ron should have been the turning point in which everyone turns against each other, but it is downplayed. Foreshadowing should cause tension in a thriller, but foreshadowing is lost when Dina says what is going to happen next. There is good parallel action placing Dina and Ronnie versus Maria and Paul and there is a good arch for each of the characters in which they change when their sight is narrowed in on their desires. The most exciting scene is when Paul taunts Maria to cut open Dina's belly. It put everyone against each other singularly and it revealed character, especially Maria's, using a kind of suspense where one must look away. It then gave reason for Maria's character to choose to do what she did at the end. It is well-written, but the form of the film takes away from the story. The film has depth and is intelligent unlike many thrillers, but the thrill is lost.