hansdewolff This movie was a big surprise! The premise is very original and the script, the direction and the overall acting is actually very good.It's about two couples. There's this vagabond and petty-criminal couple that all of a sudden is confronted with an unwanted pregnancy and come up with the plan to make some money out of it by offering to sell the baby to as much high bidders as possible, with the obvious intention to cheat them all by running off with the down payments. And then there's this counterpart couple, very well to do yuppies that are desperately in need of a baby and are ready to do anything to get it. Both couples meet, and what starts off as a friendly and business-like confrontation eventually deteriorates into a psychological and physical battle to the death. The story is hung up on an afterwards "confession" that the woman of the first couple does to a stranger (Peter) who picks her up at the start of the movie as she is seen hitch-hiking along a deserted road in the middle of nowhere. She tells him her side of the gruesome story (which we see illustrated in flashbacks) and he comments on it in a more or less moralistic and stern, but on the other hand open-minded way, by which she is forced to reflect on her own deeds. Hence of course the title "Hindsight". After the movie I was a bit puzzled by this chosen form. What did they mean by it? A sort of catharsis for this woman? A moral judgment? Problem was, that the woman could hardly have survived the deadly attack on her that we witnessed in the last flashback. So how come we see her walking safe and sound along the road? Well, I like to see myself as an intelligent and experienced movie-watcher, but I had to read some of the comments here on IMDb to see the light: the woman was already dead and while she was on her desolate way to afterlife she was picked-up by Peter (!) who gave her the opportunity to relief herself of the burden of her bad deeds and choices. Wow, I felt so dumb and instantly I liked this movie even better for this very subtle twist! The movie is made with an obvious low budget, with only four actors (five, if you count the Peter character in), and most of the action takes place within the confinement of the second couple's house in the period of one and the same evening, so it's more or less like you're witnessing a theatre play. This feeling is enhanced by the sparkling and very clever dialogues between both couples. I was impressed by all actors. Leonor Varela is stunningly beautiful but at the same time a solid actress with perfect timing and a great feeling for subtle comedy. Jeffrey Donovan was very convincing as the young yuppie: self-assured and condescending, protective of his wife and wealth and ruthless when things got out of hand. Waylon Payne was equally convincing as the slightly psychopathic con-man, charming and full of bravado but also dangerously impulsive and rough. About Miranda Bailey much has been said in the comments here, and I can understand the reservations: she is not a beauty and her role is the least sympathetic of all, so as an audience it's almost impossible to relate to her and her motives. But in my opinion she played her character very well: in her "hindsight"-dialogues she's the unappealing, street-wise and cocky white-trash bimbo who doesn't give a damn, yet her self-reflections on the comments of Peter impress as genuinely sincere. And when, at the start of their meeting with the other couple, she tries to win them over with a performance of a sweet mother-to-be, she's equally convincing; and likewise when she later on in the movie is under heavy attack and has to fear for her life, so to me it proves that she's a great actress too. My only little and rather practical piece of criticism as to the script is: how come that the yuppie-couple didn't have or use a cell-phone?!? They are so well-to-do and modern, that it's totally unbelievable that at least the guy wouldn't have walked around with a cell in his pocket, so that they could have sent for help. Anyway, this movie gives a very convincing and in many ways disconcerting image of four intelligent people who try to act as if they care for each other, but in the end let themselves only be guided by greed, suspicion and selfishness. And don't bother too much with the moralistic setting, if that's not your cup of thee, just see it as an interesting extra, that at least is equally clever done as the rest of the movie. I rank it 9 out of 10.

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.

Northevenstar84 Dina and Ronnie are a couple that live a carefree life taking what they want from others. They don't pay their rent, they steal cars, and don't seem to care about the consequences. All of their fun comes to a screeching halt when Dina discovers that she is pregnant. They have no way to provide for a child, so they decide to sell their baby to a desperate couple they find online. Paul and Maria live the perfect suburban lifestyle with a brand new model home and expensive cars, but what they really want has always been denied to them. They cannot have children. The action begins when the couples meet for the first time. Immediately it becomes clear that nothing is what it appears to be. Tension builds as ulterior motives are uncovered on both sides of the deal, and what was supposed to be an easy con for Ronnie and Dina spins violently out of control.The film opens with Dina hitching a ride with Peter, and she recounts her tale through a series of flashbacks. It's a interesting choice for a thriller. If not handled carefully this kind of narrative structure can ruin the momentum of a film, especially one that relies on thrills. However, this film has something more to offer. The best kind of horror film is the one that focuses on social issues or stigmas and turns them around to show us what we are really afraid of. Hindsight is about choice and the consequences of materialism. How much is one baby worth? Or that boat in Florida? How far will you go to get what you want? And why do you want it in the first place? That last question is the most important. It all comes back to morality, and, of course, a nice little twist ending to tie things off.Technically the film is sound. It has some great thrills, built up by creative use of sound and lighting design. The actors deliver well enough and the plot has enough turns to keep people guessing. There's enough gore to keep the spatter crowd entertained, and some depth for those of us who like to look in to film a little more deeply. All in all, definitely worth your time.

Winston12 The movie starts off with the ending like so many Indies these days. Dina (Miranda Bailey) is hitch hiking across a deserted highway and then picked up by a driver (Richard Riehle) to whom she tells the story of how she ended up on that road, that day. She starts with her boyfriend Ron (Waylon Payne). Where we zip to a scene where Dina and Ron are having wild sex in a shabby motel. They speed off leaving no pay for the hotel owner and stealing the room's TV then speed down the road where we see they are living out of their car. Soon enough they find out that Dina has gotten knocked up and they have no way of raising a child. Then we meet Maria (Leonor Varela) and Paul (Jeffery Donavan). A rich yuppie couple living in an up and coming gated community where they live in the model home. Dina and Ron show up 8 months later pregnant. They have made a deal with the rich couple to "adopt" or sell their unborn baby. However, during the visit, where they play an extended game of Pictionary we see that neither couple is who they say they are. Thrills ensue. Paul gets beaten up, Ron gets stabbed, Dina gets locked in a closet, and Maria wants the baby. She will do anything for the baby, even if it means betraying her husband. The film goes from the story to the car ride where Dina tells her story, so one assumes she survives the ordeal. However, the ending is a HUGE surprise, and what we thought was happening really was not. Performances are rock solid. Direction is on par. To gruesome for some in the end I sure, but worth a watch.