Max (Reg Rogers) is a photographer. After a stunning debut, he finds himself, a year later,suffering the photographer’s equivalent of writer’s block. He’s lost his inspiration, and can nolonger take pictures. He must provide ten for the next day, however, or his career tankspermanently. Hitting a bar, he encounters a strange man who leaves behind a package of fabulouspictures. They could be Max’s salvation. Max is unsure whether or not to claim them as his own,but wh…n they are stolen he begins a quest through the New York to find them, encountering allsorts of odd characters along the way.
We’re in After Hours territory again. The pace is a bit slow, and the script issometimes a bit portentous (especially in the voice over). The cinematography is gorgeous,though, and the quirky characterizations (notably Maggie Gyllenhaal as a neat freak psychic) area lot of fun.
This is a film of contrasts. Much of it is very quiet, and so there is barely any kind ofsurround, music or otherwise. At other moments, however, there are sudden increases in volume;one example is the blaring car horns as Max tries to decide whether or not to claim the picturesas his. At these moments, the enveloping sound is very striking and effective. The clarity of thetrack is beyond reproach.
There is some minor grain, but the transfer in general looks very good. The blacks are deep,and look terrific in both colour and black and white (the B&W sequences are gorgeous). Thecolours are solid, and the contrasts and flesh tones are excellent. The dark scenes are nevermurky.
A quirky, interesting piece, with a real love for the visual splendour of its setting.