cuda_71 I thought Melanie's character was not needed. She also delivered a less than 'good' performance. I don't know if the Director thought he could cash in on her star power or what he was thinking by allowing her to be in this movie. I felt she sunk the movie faster than it was already sinking on its own. Her weak attempts at crying forced me to fast forward her parts in the movie altogether. The movie was on to something great then the writers or directors (maybe both) lost their way. Showing the other murders and far less of Melanie's character would have been great. The ambiguity of the prostitute in the next room was great because I wasn't sure if it was a man or a woman with a strap on. Some confusion on my part did set in when the reporter said that 6 transsexual prostitutes were murdered. That tells me it was a man. However, her/his phone conversation with the kid and going to Six Flags told me t was a woman. Confusing. HAD potential!

Deepack Dark Tourist took me on a ride I did not expect. The performances were so real I forgot I watching a movie. Frank John Hughes has an uncanny ability to present deep insight while structuring a story that allows you in... but not out. Michael Cudlitz in the new Charlie Bronson, a silent, powerful, talent who can think on screen without brooding. God only know what's in store for this miracle of expression, but I would bet big, big, things!The music by Austin Wintory is so profound, it found ways to creep into my being without drawing attention. What an underscore!Evocative, Provocative, Sensational!See this move! It will be an experience you're are not likely to forget!

Jesse Boland Well I would say that this is a slow hot soak in a long cool movie, except the movie is just over an hour long. Take the fact that it is shorter than most TV pilots, and forget it. You get every bit of a full fleshed out well acted, and filmed movie here, there is true darkness out there, and this is just one tiny little snapshot. A well told story that unfolds slowly enough to keep you on course from the beginning. Michael Cudlitz is really good in this movie, which is no surprise as he has been acting forever, I actually do remember pretty near every time his face has shown up since Jump Street. Melanie Griffith plays broken very well these days, you just see her, and feel the pain. I Enjoyed this movie, at first I thought it was going to be something else, but that is what you are supposed to think. I would only recommend this movie to horror/psycho killer kind of morbid death tour kind of stuff. You people that are afraid that one day the Hardy Boys won't be there to stop the mad voodoo witch doctor should most likely steer clear of this here.

Sufi Mohamed Grief tourism is an excursion to locations associated with tragedy. Travelers visit sites associated with death and murder. Dark Tourist, directed by Suri Krishnamma, exquisitely examines this fascination with pain in a manner that allows the audience to delve into the mind of a man who uses trauma to connect with others. This film encourages its audience to understand how feelings of loneliness and isolation devour victims who are unable to reach out to people around them.Michael Cudlitz (Southland, Running Scared) plays Jim Tahna, a security guard whose eagerness for grief tourism goes beyond that of mere fascination with death and destruction. Jim takes a trip to New Orleans, Louisiana to visit sites associated with mass murderer, Carl Marznap, a quietly chilling Pruitt Taylor Vince (Wild at Heart, Constantine). In between locating the places where Carl grew up and slaughtered innocents, Jim meets Betsy, a heartbreakingly stoic Melanie Griffith (Lolita, Working Girl).Cudlitz has a magnetism about him. He is able to maintain momentum between lucid expectation and crushing vulnerability with mere gestures, his limping step, and an emotive intelligence behind his eyes. Cudlitz plays Jim as a man of many layers whose desperate need to fill the unexplainable void within renders him incapable of sincerity. Jim knows exactly what to say to people and how to say it.Krishnamma's use of sound allows his audience to make the connection between Jim's insatiable need to bond with others while simultaneously preserving his isolation. The lighting is at times beautiful and accentuates the grotesque themes of the film. Trauma, sexual desire, brutal deaths, and painful memories are highlighted under Krishnamma's artful direction.The most intimate moments are surprisingly found during the Jim's voice overs, where we watch him go about his day. Paired with rhythmic, repetitive, and chaotic sounds, Jim is carried through the story methodically. This adds to the mounting tension that builds throughout the film as the reasons for Jim's fascination with pain are revealed.In Dark Tourist, Krishnamma deals with the notion of an audience's fascination with death and sexuality as a form of entertainment. It is as if he is prodding the audience to look inward and discover their own reasons for feeling such satisfaction. The concept of one being a bottomless void, a face, a name, a victim, plays heavily in this orchestrated piece that no provides no simplistic answers to the logic behind a serial killer's motive. Nothing is black and white.Dark Tourist is a film that calls to mind the thought of what it means to be a victim of a tragic event. It daringly and disturbingly draws the audience to the social dilemma victims of violent and sexual trauma face amongst peers, which is the fear of communication and the tendency to turn a blind eye. Cudlitz's portrayal of Jim during scenes where he is psychologically afflicted is masterful. In one scene Jim and Carl stand outside a prostitute's door. Jim is silent, still, almost trembling with the effort to hold himself against temptation. Here is the moment where change is imminent. Vince's quiet tones and Cudlitz's pregnant pause embodies the issue of trauma buried deeply into the psyche, and the struggle to keep the despair of its existence at bay.Read the rest here - http://bit.ly/18wwPag