5th & Alameda (2011) User Reviews

WE ARE ALL GOOD AND BAD GUYS

[nogodnomasters · 6/10 · 8 April 2019]

This is a story about all of us having elements of good and bad in us. It is about forgiveness and the choices we make. Teacher Sara (Saye Yabandeh) has had a violent past and her nightmare hasn't ended being in a bad part time relationship with Riley (Travis Johns). Derek (Corey Sevier) lives with Parker (Vince Lozano) and has hit rock bottom.

***Midpoint Plot Spoiler***

During a robbery Derek shoots Sara. She loses her child. He can't live with the guilt. He meets his victim and allows himself to become her abused slave. The scenes are interlaced with flashbacks of her personal abuse as we see where she gets her ideas to abuse Derek. Mario Van Peebles plays an investigating officer with his own personal axe to grind.

The theme is over riding in the film. Derek is constantly asking himself "How did I get her?" to the point of ad nauseum. The rape scenes were violent and intense. I felt uneasy watching them. While that may have been the intent of the director, I really don't like paying someone money to make me feel that way. The actors did a good job. The juxtaposition of Sara as victim and Sara as "punisher" was good, but could have been expanded.

A film clearly not for everyone.

Parental Guide: F-bomb, violent rape, sex, no nudity. Saye Yabandeh in shower with long hair strategically draped.

40/60 for just far too long, for a film that doesn't know what it is

[azcoppen · 4/10 · 23 December 2014]

My entire raison d'etre for watching this was Saye, having had her picture coincidentally flick on a corner of my screen earlier in the evening and disturb a fantastic bottle of Chilean red. If it's convinced me of anything, it's that i need to scour Los Angeles for an trace of her, in order to propose marriage immediately simply on account of how intoxicated i am with her beauty. That, and to enforce the production company's site overhaul into the 21st century. I am of course now, an entirely biased reviewer.

That said, it's a very odd film. As a director, it's frustrating: you want to take the potential of what's on offer and realise it to its full potential; but i'm not sure what that is as it's a syncretic mish-mash of ideas that are trying to go somewhere, but never arrive. One thing's for sure: Persian screen presence is unbeatable; there is a goldmine of undiscovered drama in Iranian expat culture and its pseudo-turbulent clash with what is now known as Tehrangeles. You just simply cannot ignore a Persian when they're on screen: that mystical allure is a trump card.

Firstly, 2hrs is far, far too long: the editor should have pointed that one out, as the director should have cleaned up the script itself. There's at least an hour of redundant material in there. There's probably a story in there somewhere, with a powerful punch; but it's not evident at all. It could be a sick suspense black widow chiller, but there's too much compassion. It could be a vulnerable biopic, but it's too cold. It could be a multicultural document, but it's gritty and americanised. It could have depth, but it doesn't connect with anything more meaningful. The best word for it is schizophrenic, but that indicates an intensity it doesn't have. The only words that come to mind are "unfocused", "diluted" and "meandering".

It's not bad, but it's not good. The violence approaches visceral (particularly the rape and domestic assaults), and the historical character development starts in an interesting place, only to never actually connect the person who is the focus of the film - it just doesn't join up. The photography is "urban" bleached well, only to be inconsistent for most of the piece. The acting is horrendously wooden in places, yet authentic and moving for specific parts: it's just confusing. Character motivations aren't clear, the pacing is lacklustre, and you're left wondering if it's a case of talented actors being stuck in a bad film, or a good film with bad actors. I suspect the direction is heavily to blame, as it has very little. I also suspect too much collaboration is to blame, from the lack of a singular vision or message. "Mediocre" doesn't do it justice - you can't hate it, you probably won't like it, so it ends up so bland that you can't really rate it. A highly unusual type of scenario.

Is it a film about Iran and it's attitude to women? The intoxicating and twisted dynamics of dysfunction and/or domestic abuse? Is there a Machiavellian conspiracy or moral that was meant to draw you in? I have no idea. I doubt any of the production staff know either. What i do know is i did manage to get through that bottle of Chilean red quite nicely, and wasn't any the wiser, other than that i should somehow spend more dreamy screen time with Saye, when i probably should be engaging with the film itself - which isn't a good sign of professionalism by any standard.

This piece needs a second chance: a re-write, a paced story that viciously twists and has a conspiracy at the centre of it, some tough talk to the actors, and a bit of a sick tone to turn the knife and give it a painful edge - heading to a solid theme, message, and moral.

But then again, that would make it an entirely different film.

TL;DR Idiot watches film because he wants to marry the girl in real life, suggests re-writing the film which he doesn't much about anyway. Take review with a shovel of salt.

Incredible depth, Saye is strong but vulnerable

[derwinbill · 10/10 · 16 June 2021]

An excellent movie with some deep and important intersecting themes.

Characters are amazing, selling their real life stories.

Fate takes several turns, and although intense, movie allows a glimpse into fate, humanity, and justice.

Saye as Sara leads the cast. Amazing emotion, and incredible strength. And her beauty is enchanting.