A Cicala Filmworks, Cinema Dante, TMT Entertainment Group production. Produced by Stefan C. Schaefer, Diane Crespo, Tina Thor, Howard Axel. Executive producers, Joe Scarpinito, Joe Laurita. Co-producer, Victoria Imperioli. Co-executive producers, David Greenberg, Andrew Lund. Directed, written by Michael Imperioli.
With: Steven R. Schirripa, Aunjanue Ellis, Nick Sandow, Sharon Angela, Emory Cohen, Jim Hendricks, Paul Calderon, John Ventimiglia, Jerry Grayson, Angelica Torn, Stefan C. Schaefer, Joe Caniano, Bess Rous, Chris Tardio.
More like a series of playlets strung together than a workable, flowing script, "The Hungry Ghosts" reps a weak helming-writing debut for thesp Michael Imperioli. Stuck somewhere between an attempt at edgy smallscreen fare and a stage exercise, the pic follows five New Yorkers of various ages in search of fulfilment. But, the editing between stories lacks a discernable rationale and, while occasional acting highs show off the performance's possibilities, dialogue is strictly standard-issue. Theatrical will probably be limited to Gotham, though cable may be kinder.
The central idea is that everyone is looking for spiritual wholeness, yet few can put their finger on why they haven't found it, or what they can do to improve themselves.
Overweight gambler Frank (Steven R. Schirripa) is a latenight deejay with a coke addiction and an inability to parent his teen son, Matthew (Emory Cohen), who he barely sees, except when he can bring himself to attend the boy'stherapy sessions. Relations with his ex-wife Sharon (Sharon Angela) are combative, and, when Matthew disappears after therapy, Frank's inability to deal with responsibility becomes crystal clear.
Meanwhile, Nadia (Aunjanue Ellis) skips out on her landlord, not sure where to go next and still smarting from an intense relationship with alcoholic Gus (Nick Sandow). Gus has just gotten out of rehab, his belief in any kind of spiritual fulfilment crushed by Nadia's rejection.
The characters wander in a wary New York at night, linking with the wrong people and struggling to find a way out of their deep-seated unhappiness.
Shifts between stories never find a rhythm, however, and each section feels like its own set piece. Unfortunately, the characters' cries of desperation become merely an opportunity for standard-issue short monologues, with everyone eventually connecting at a yoga studio. It's unclear whether Imperioli is backing up Gus' deluded cynicism or if he really believes in the healing: Is the brief sex scene between Nadia and Gus -- with literal blood drinking -- meant to be laughably over-the-top or serious?
Most of the actors display sparks of something finer than their lines, though the choppy nature of the scenes prevents them from sustaining depth. Many of pic's technicians, including d.p. Dan Hersey and editor Erin Greenwell also worked with producers Stefan Schaefer and Diane Crespo on their considerably superior pic "Arranged."
Sound is consistently problematic: Background noises and conversations have been all but eliminated, making everyone appear to be speaking on a stage. Music, by Imperioli's bandmate Elijah Amitin, needs to be pushed up front more to provide the emotional catharsis the helmer is trying to achieve.
Camera (color), Dan Hersey; editor, Erin Greenwell; music, Elijah Amitin, La Dolce Vita; production designer, Victoria Imperioli; art director, Illya Radysh; costume designer, Beth Kelleher; sound, Octavio Warnock Graham, Allan Zaleski; line producer, Isaac Wilkins; casting, Meredith Tucker. Reviewed at Rotterdam Film Festival (opening night -- competing), Jan. 21, 2009. Running time: 106 MIN.
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