Roland E. Zwick In the low-budget drama "Fix," Milo - played by Tao Ruspoli, who also directed and co-wrote the film with Jeremy C. Fels - and his girlfriend Bella (Olivia Wilde) are a couple of San Francisco-based filmmakers who are working on a documentary about the prison system in California. But before they can get to the task at hand, they have to drive to LA and get Milo's ne'er-do-well, drug-addict brother, Leo (Shawn Andrews), out of jail and into rehab by 8 in the evening or he'll be sentenced to three years in prison for violating his parole. They also have to find a way, by fair means or foul – mostly foul – of raising the $5,000 they'll need to enroll him in the program. Thus, the three of them race around the greater Los Angeles area, with the hopped-up, smooth-talking Leo finagling money out of some pretty shady and disreputable characters, though spending almost as much cash as he's taking in while doing so.In a sense, Milo and Bella wind up making a documentary anyway – only on a subject different from the one they'd originally intended, one that arises from life as they're living it. We rarely get to see Milo's face on camera, since he spends most of the time filming the action (a la "The Blair Witch Project"). At this point, one either goes with this aggressive, you-are-there, pseudo-documentary style of fictional filmmaking or one doesn't. And, predictably perhaps, the approach, as employed in "Fix," is both dramatically effective and annoyingly distracting in roughly equal measure. The best part about the movie is its off-the-cuff glimpses into various milieus and locales in the LA area. The plot, which takes place over a 12-hour period, does have a spontaneous feel to it at times, though it also tends towards the redundant and attenuated. However, the final third of the film achieves a level of poignancy and artistry one wouldn't expect it to based solely on its earlier stretches.Andrews brings a great deal of kinetic energy and roguish charm to the role of Leo, and Wilde is both poised and alluring as the attractive Bella. In fact, it is Bella's changing reactions to Leo and the world he inhabits that makes her the everyman character in the story who draws us more deeply into the venture than we would ever have gone without her. At first she is disdainful and casually dismissive of Leo; then, as she gets to know him better, her hostility turns to grudging admiration, then tantalizing approval, and, finally, a willingness to become at least partially complicit in his actions, making her in a sense the Bonnie Parker of the piece. The movie observes rather than judges Leo and the people he interacts with, while, at the same time, gently ribbing Milo – and, by extension, the actual filmmakers themselves - for his (and their) obsessive need to record every moment of existence rather than simply living life for its own sweet sake unencumbered by the camera.

yvonneuscgirl I wasn't sure I was going to like this film, but it turned out to be very engaging. Kudos to Olivia Wilde. I really enjoyed the ride. Looking forward to this one on DVD. THe cinematography was especially wonderful. I went back and forth with believing this was a real documentary and a narrative film. It had a lot of wonderful elements. It was creepy, quirky, realistic, suspenseful, and in some ways it felt like those old Hope and Crosby road pictures. I didn't love the ending. Some of the supporting players were very good and believable. It was a fun ride through the many sites and sounds of LA. The music was very eclectic and it seemed that the script was written around the music. The scene in Watts was particularly realistic.

Gustavo Sampaio I had a chance to catch this film at a screening and wow, I am so glad I decided to go see it.Tao and the rest of the creatives really put together a wonderful team -- the ease and joy with which they worked is apparent in every shot. The character performances are bold, lovable, strong and somehow vulnerable at the same time. The locations are stellar -- it is a complete and all-encompassing homage to Los Angeles. And the cinematic guerrilla-style shooting really serves the piece -- allowing for some truly magical moments to unfold throughout the film that would not have otherwise been captured.The audience was laughing, or should I saw guffawing, at the beginning and also at the end of the piece. Yet we were also moved by some very touching, pulled-from-real-life dialogue and the patchwork of cultures that make up the fabric of a fabulously seedy, not-often-shown-in-the-movies LA.What else can I say? I loved it. Go see this film -- if you can, as fast as you can, with as many people as you can. You will not be sorry.

Mihail Krepchev "Fix" is a wonderfully shot, brilliantly acted and incredibly well directed film, which deserves all the praise that can be thrown its way. Tao Ruspoli takes the audience on a witty, energetic and truly emotional journey through Los Angeles in the course of one outrageous day in the lives of the characters. The jumpy hand-held camera style is not among my favorite film-making techniques and has gone horribly wrong on numerous occasions. However, if there ever was a film in which this works, it is "Fix". The sheer inventiveness of director/cameraman Ruspoli gives the film a gritty energy that is truly unique. Almost every single scene in this picture is a work of art itself. Add to that the extremely well-written (or amazingly improvised, I cannot tell) dialogue and the amazing performances of both Olivia Wilde and Shawn Andrews and you are left with a wholly satisfying experience. I would tip it for My Favourite Indie Film of the Decade. Seriously, I enjoyed it THAT much! Outrageously funny one second and deeply touching the next, this movie has all the advantages of an independent production and none of the down-sides (being too naive or too self-indulgent).