Reptileenbu Did you people see the same film I saw?

Comwayon A Disappointing Continuation

AutCuddly Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

Mandeep Tyson The acting in this movie is really good.

eyelineronacat GIve me something really juicy to obsess over, and it's off to the races. I've been a huge fan of Shannyn Sossamon for some time, but I'd missed this movie until recently when it was aired on cable. While I feel that Shannyn is the film's biggest asset, I'm also struck by how her presence is not completely dominating any scene she's in with others. It's clear that this was the right film, right actors, right time and place, because this kind of full-cast chemistry doesn't come along very often. I couldn't help feeling like a fly on the wall who was witnessing the combustible moments, big or small, between these characters. In someone else's review here, they mentioned a killer opening shot. I agree and feel the same way about the closing shot as well. It could've gone on for another five minutes and I wouldn't have noticed. I'm looking forward to watching Road to Nowhere again so I can catch some of the little things I missed, because I'm sure that I did miss some.

Lotus11234 A really bad movie trying to be existential and thought provoking, with supposed stylish scenes, that starts and ends up being just a confusing, intentionally unintelligible borefest.First we watch a riveting four minute scene with a woman blowing a hairdryer on her face for some reason. Pretty girl, but please. I guess the director thinks that some people when they are pondering their lives or a dilemma break out the hairdryer. Shots ring out later for reasons that are never fully shown or explained. I will tell you why, but there are now SPOILERS AHEAD.There begins some type of cover up for a crime, that ends up actually being a movie of the cover up of the crime that ends up being a movie of a movie of the cover up of the crime, or maybe not, that ends up being an entirely new crime, but wait.....it is a now a movie of that crime, but that ends up being a filming of the story of that crime, or maybe not......who knows? I am sure this all has some deep meaning to the director, and shadows his personal life or something, but to normal people, no meaning at all. Worse, it is stunningly slow and boring. If you find the above premise intriguing, I would suggest someone could have made a movie like that that would be infinitely more interesting and yet still be confusing and thought provoking. Like maybe Inception or numerous other movies.I think the movie is summed up by its title, but even more to the point, a line within the movie itself (or within one of the movies of the movies...): " Let's f--- the facts" OK cut....lets look over this review and see if it reads well.... OK CUT.......THATS A WRAP OF THIS REVIEW..........

Karaoke-2 Opening medium shot: Shannyn Sossamon is sitting on a bed with her back to the headboard.The camera begins to move s-l-o-w-l-y toward a closeup of her face against a backdrop of silence. 3 minutes elapse as we watch her left hand move toward her face. She is holding a hair dryer. She turns it on. It blows in her face. During the next 2-3 minutes we watch as she moves the hair dryer closer to her face. We hear the motor purr. As this soporific scene concludes it sets the stage for a 120+ minute film that defies description. We soon learn that the story is about the shooting of a movie. Mademoiselle Sossamon has been chosen for the lead in this 'movie within a movie' She tells the Director she is 'not an actress' but he wants her anyway. I don't blame him..she's gorgeous and mysterious, perfect for a part that is the centerpiece of this convoluted, incomprehensible, maddening movie. As we watch various scenes of the director 'shooting his movie,' we become more confused regarding the storyline. When the director needs a retake, we watch him shoot the same scene over three times. More than likely the film editor went mad attempting to splice the scenes together to make a coherent story. Rather than give up, he spliced the scenes at random, collected his check and vanished. I commend him for having the courage to allow his name be listed in the credits. This movie was an endurance test. After the first 30 minutes, I took a bathroom break and noticed that at least half the audience had left, presumably in time to get their money back. I am aware there is an audience for this type of movie who enjoy obscure plots populated with ill defined characters. I'll acknowledge that Director Monte Hellman has style, but I'm unable to describe it. If money is not an object, go see this movie. But don't delay. I suspect the DVD is imminent.

Michael Gates "Monte Hellman's new movie is entitled Road to Nowhere. The title may bring a bittersweet smile to longtime fans of the brilliant director. Half sweet because it would be an apt moniker for most of his dark journeys, while the bitter half comes from the knowledge that the title could also describe a career that has resulted in great films, but with one near-exception has never resulted in the wide acclaim that he deserves. However, after seeing Road to Nowhere, Hellman fans will be smiling unambiguously with pleasure that this latest work represents a strong return to form for this unique filmmaker after over thirty years wandering in the filmmaking wilderness…The movie tells the twisty neo-noir tale of a film crew shooting a true crime saga about a massive scam that ended in multiple deaths. Things get messy when director Mitchell Haven chooses an unknown actress to star in his movie. Mitchell becomes increasingly obsessed with his enigmatic leading lady who may have a secret connection to the actual crime. Mitchell's obsession and her dangerous game lead them both down a rabbit hole from which there is no escape. However, no synopsis can do justice to the Chinese box-like structure of Hellman's work. Careful viewing is required to decipher which events are "real" and what is the film-within-the-film, with even the credits being playfully deceptive. At age seventy-nine, Hellman has created a powerful and haunting work that can stand with his best films…"Dylan Skolnick Long Island Pulse Magazine