(1972) As far as plots go, movies differ. Some have obvious plots that have been done repeatedly in the history of film/literature culture. You know how the thing is going to end in the first five min. Others have plots that are there, but one has to watch the movie five times before understanding it all. Some do not have plots and everyone knows it, in which case it better have something else that is damn well done! Then comes along a movie, teetering on the thin line of questionable success where one can not tell whether there is a plot or not. If, while watching Satyricon you find yourself wandering whether it is going to wrap up finally into an understandable conclusion after which you can satisfactorily murmur `ahh yes, now I got it'. Well, in the end there is no such luck, sorry lads and lasses. Of the plot the one thing I could gather is that it is the journey of the main character who is searching for something, or some one? Very hard to figure out. It starts out as a conflict between one Greek lad and another who both have unbegotton lust of a younger lad then themselves. The lad ends up choosing one over the other, or something of that strange sort. The other goes off, into something like a whorehouse, or something. The whole thing is bathed in color of unnatural hue. But, I degrees., To get back to the supposed half invisible story line, the supposed main character goes off on a journey of many naked breasted strange looking ladies. The secondary characters all come in and disappear throughout the story. One really has to view this more as a surreal world with little scenes and parts that are not really connected by any great spine, because otherwise one is to be lost for sure. Over all it has the flow of an acid trip with some really pretty boys strange kings (or was there just one) and strange looking women! There is no doubt that there are many subtle points to be made, but it may not at first be clear what they are. Ultimately, if there is any sort of plot it probably revolves around a young man trying to find himself (or his sexuality) though different occurrences.


This was the first Fellini film that I saw back in 1974 or so. It was a midnight screening in Westwood in Cinemascope on a giant screen. I had seldom been so effected by a film. It was so overwhelming, I went back the very next midnight for another look. The sheer amount of detail and striking bizarre symbolic compositions continued to overwhelm me. It became my favorite film for a number of years and I must have seen it with various friends about 30 times in theaters. How can I summarize such a work of art? It's a subconscious spectacle, a view of humanity through a fun house mirror in an alternate universe. Though later I became a fan of Fellini's previous and subsequent films, Satyricon remained my favorite and I regard it as THE high-point in Fellini's career. Never has his fertile imagination delved as deeply as here. Unlike so much of Fellini's output, this is not a personal autobiographical film but instead an archetypal film. Fellini even had a Jungian analyst on the set while shooting.

For those who haven't experienced it, Satyricon is a loose adaptation of the oldest surviving novel of the same name by Petronius Arbiter, a Roman from the time of Nero, who wrote a sprawling series of satirical and bawdy stories . The novel only survived in fragments and Fellini decided when adapting the tales to not try and patch up the narrative but instead present a series of highly detailed episodes. This fit into his view of history. We only know history (particularly ancient history) from bits and pieces passed down through the ages. Though the three lead characters reappear throughout the film, the other characters, situations and locales around them change unexpectedly. Now, while these picaresque episodes are indeed exotic, weird and funny, it is Fellini's vision that makes this film unique viewing. In particular is his roaming camera that is intricately choreographed and put to great use in large group scenes. Though we take moving camera as standard practice today, it really wasn't used nearly as much in the 1960s and Fellini had a distinctive way of shooting action and character gesture that still stands out as his own. Certain sequences (particularly the red light district near the beginning) feel as though we are on some kind of dark ride, gliding past a series of rooms containing all manner of curiosities. Another very striking technique is to have a few of the characters stare into the camera, generally a "no no" in all but documentaries. The effect creates a curious confrontation as the characters stare impassively  watching us as we watch them

The music for Satyricon is another fascinating element. Though Nino Rota composed a substantial amount of the score (particularly the oddly phrased melody heard at the end and the new emperors parade), a great deal of the music is either world folk music (such as the Balinese Monkey Chant) or avant garde electronic compositions (Ilhan Mimaroglu, Andrew Rudin, and Todd Dockstader among others). This gives the film a dual feeling of being very primal and yet otherworldly.

On one level Satryicon comments on the youth of the late 1960s, the unanchored hippies wondering from place to place without a "moral compass" -- one hedonistic adventure after another in a satiated and decadent world. On another level the world depicted is a collective dream of which our civilization is puppet-ed by primal forces beneath the surface. In this way Satyricon feels both foreign and recognizable, its images both seductive and repellent. One can admire Fellini for tackling such an ambitious concept and it is due to he and his collaborators (particularly Danilo Donati) that this film achieves so much.


Fellini's SATYRICON is one of the true art-movies of the late 60ties European cinema, it's extravagance of color, religious undertones, philosophical questioning and eroticism is captivating. Fellini takes us on a bawdy odyssey of episodic nature where Encolpio (Martin Potter) in center, together with Ascilto (Hiram Keller), faces the incredible but impossible, world of ancient Rome; the sultry society of Romans who lives luxurious lives in self-indulgence where the nature of moral traditions is constantly pushed to the limit. Both handsome youths Encolpio and Ascilto battles for the sexual pleasures of a mysterious slave boy (Max Born) who unites and divides them as both enters bewildering adventures of often homosexual significance. The film jumps back and forth in time, and jags its narration with no sorts of explanation, the viewer just has to go along for the ride without never really understanding the plot - Fellini throws a fascinating travelogue who structurally follows the actual work of Petronius.

Grotesquely painted, the film doesn't punctuated the everyday life of citizens of the Roman empire as Petronius' actual script, Fellini mainly makes it come to life by its visual opulence and outrageous connotations. I personally love Fellini's absurdity and artful touch, and though this is often viewed as a mostly problematic film, I always find it quite unique and influential for the many following film directors of world cinema.


He's set to be hanged for murder; she's dying of a mysterious illness. By chance, they meet before sailing on a ship set-sailing for San Francisco, and fall in love. He is William Powell, the most debonair leading man of the 30's. She is Kay Francis, the best dressed woman of the 30's. They are both very attractive, yet doomed.

Such is the basic storyline for this wonderful drama filled with tears, humor, and drama. The team of Powell and Francis had appeared together in four films at Paramount before being signed by Warner Brothers in 1932 when they made this film along with another classic, "Jewel Robbery". Where Powell and his later partner Myrna Loy exemplified sophisticated humor several years later at MGM, Powell and Francis were a romantic couple. Both Loy and Francis were well-dressed, dark-haired beauties. While Loy had a career that lasted almost 60 years, Francis would retire from the screen by the mid-late 40's. As a result, she was one of Hollywood's forgotten leading ladies until the success of Ted Turner's classic movie channel brought her back into the limelight.

"One Way Passage" is the team's most beloved film, and its Academy Award winning story is just one of the highlights. The stars are another, but the supporting cast was simply superb as well. Frank McHugh, as a drunken conman, is perfect comedy relief along with the fabulous Aline MacMahon as the phony "countess". If there had been Supporting Academy Awards for acting in 1932, she would have won for this film handsdown. She is simply wonderful. There is not a moment of hers on screen where she doesn't dominate it. Warner Brothers apparently offered her the chance to become a leading lady, but the realistic MacMahon realized that her best parts would come with the character roles that often stole the limelight away from the stars. Catch MacMahon in the very well known "Gold Diggers of 1933" and more obscure films such as "The Merry Frinks" and "While the Patient Slept" to see what I mean. Her later films, "Dragon Seed" and "The Search", are perfect examples of what a gem she was as a performer.

The music score, later heard in the background of many a Warners "B" film, is classic. The screenplay is superb, and the length-well, a mere 68 minutes, which goes to show that good things do come in small packages. Sadly, after this and "Jewel Robbery", Powell and Francis were never paired again; Powell went onto MGM where better things awaited him, while Francis remained at Warners for many similar films, none of which could surpass the charm of this film. It was remade of course by Warner Brothers in 1940 as "Till We Meet Again" with George Brent and Merle Oberon. That version was not bad, but certainly an also ran compared to this film. The ending will leave you joyfully heartbroken.


A dying woman and a condemned man fall in love on an ocean liner; how's that for high concept, circa 1932. No, I'm not giving anything away about this tightly plotted, exquisitely produced melodrama. Upper class sophistication, personified by ever-glamorous Kay Francis and gentleman crook William Powell, characterizes the tragic aspect of the story, while ethic warmth and humor, in the classic Warner Bros. style, are perfectly supplied by Aline MacMahon, Warren Hymer, and Frank McHugh. Lots of marvelous small touches, not the least being the way McHugh plays the final scene. If it's on, don't miss it.


This is likely the most underrated great romance picture of all time! The stars--William Powell and Kay Francis--are superb. The supporting players--Aline MacMahon, Franck McHugh, and Pat O'Brien--have never been better. The music score is a classic; the story a perfect gem. From the opening shot at a Far East bar, complete with a marvelous singing trio, to the final, heartbreaking moment, this film is the perfect 1930s concoction of great stars and a ridiculously silly plot made totally believable and palatable. Kay Francis was one of the top stars of the decade, and this is one of her best films; William Powell, also underrated, has never been more suave. Both deserved Oscar nominations for this great fiolm, as did MacMahon and McHugh for support (not a category for another few years). Kay Francis did everything during her reign as a top Warners star. It's amazing how she was able to go from fragile heroine to hard-edged woman and then throw in a comedy. A truly versatile and wonderful star rescued by TCM from obscurity. Sadly, neither Powell nor Francis would ever win an Oscar----Julia Roberts indeed!


This is an update of an earlier comment. One Way Passage is likely the most underrated romance picture of all time! The stars--William Powell and Kay Francis--are superb. The supporting players--Aline MacMahon, Frank McHugh, and Warren Hymer--have never been better. The music score is a classic; the story a perfect gem. Francis is dying from a rare malady; Powell is going home to face execution. They meet and fall in love.

From the opening shot at a Far East bar, complete with a marvelous singing trio (Jane Jones is one of the singers), to the final, heartbreaking moment, this film is the perfect 1930s concoction of great stars and a ridiculously silly plot made totally believable and palatable. Kay Francis was one of the top stars of the decade, and this is one of her best films; William Powell, always underrated, has never been more suave. Both deserved Oscar nominations for this great film, as did MacMahon and McHugh for support (not a category for another few years).

Kay Francis did everything during her reign as a top star. It's amazing how she was able to go from fragile heroine to hard-edged woman and then throw in a comedy. A truly versatile and wonderful star rescued by TCM from obscurity. William Powell would hit his stride a few years after this film in The Thin Man. He started out in silent films as a villain (When Knighthood Was in Flower in 1922) but talkies turned him into the epitome of the debonair gent.

Two great stars, but neither Powell nor Francis would ever win an Oscar.


Dan Hardesty has evaded being caught for quite some time. His luck runs out in Hong Kong, where he is apprehended. He is being sent back to the States to pay his debt to society. Sgt. Steve Burke is the man escorting the con man in the ocean liner traveling across the Pacific. Dan sees and immediately is captivated by the intriguing Joan Ames, a wealthy woman. Also on board we find two con artists working their way back home. "Barrel House" Betty is passing herself as the phony Countess Barilhaus, and a man from Dan's past, Skippy, is also finding ways to scam passengers.

In this setting, Joan falls in love with Dan. She has no idea about his past, or why he is on this particular ship. Dan, on the other hand, has no inkling about the fatal disease Joan is suffering. Their time together is precious and both fall hopelessly in love. Skippy and the Countess plot together to help Dan escape. Their scheme involves the phony countess falling in love with Dr. Hymer, who is attending Joan on this trip. Dan has decided to try to escape, and as they arrive in San Francisco, where Joan learns the truth about Dan and collapses. Dan never goes ahead with his plan and is sent away.

This bittersweet story of an impossible romance, was given a wonderful treatment by Tay Garmett, a director who knew how to stage these impossible romances. Robert Lord created a fine screen play that even seen today makes a lot sense.

William Powell and Kay Francis play the doomed lovers. Mr. Powell, one of the handsomest figures of the time is the right man for the exquisite Kay Francis, who was one of the most popular leading ladies at Warner. Before the arrival on the scene of Bette Davis, Ms. Francis reigned supreme because of her intriguing beauty and her way of making every character she played a winner. The joy of this film though are Aline MacMahon and Frank McHugh. These two character actors give their best to make this a winning comedy.

"One Way Passage" is a movie that will not disappoint the lovers of classical cinema.


In the grim year of 1932, with Warner Bros. losing money like all the major studios except MGM (RKO and Paramount both went into receivership thanks to the Depression), along comes the movie One Way Passage, dealing with what seems are the petty cares of grifters on a Pacific cruise. Only this movie is not a screwball comedy or a story about rich people in tuxedos chitchatting when they are not dancing. Writer Robert Lord's frequent writing partner in 1932 and 1933, Wilson Mizner, specialized in stories about people on the margins of society, peaking with the great Heroes For Sale. In one way or another, most of the characters in One Way Passage are nearing the end of their line. When Frank McHugh's character Skippy, drinks alone at a bar in Agua Caliente on New Year's Eve, there is no longer the usual smile on his face as he stares at his drink. The opening credits of the movie put Kay Francis' name above the title, but she is just one of several Warners stock company actors at their peak in this movie, including Warren Hymer as the tough detective who always gets his man.

The year 1939 is described as Hollywood's peak year, when movies like Gone With The Wind and Gunga Din were in release. But judging movies by how they stand the test of time, movies released in 1932 and 1933 stand up better. One Way Passage is proof of that. Warner Bros. may have treated its employees like slaves, working stars and crew until 2:00 AM (with no overtime) to meet the 12 day production time limit the studio imposed on most movies, with a 6 day work week, but look at the results. One Way Passage. Baby Face. Mystery of the Wax Museum. Lady Killer. Joan Blondell described Warners Bros. studio then as a place where things were "really cooking." And now, almost 75 years later, One Way Passage can still hold a viewer's attention with its story of some passengers on a last voyage before everything changes.


When I worked a graveyard shift, my supervisor, brightening (and waking) us up, asked "Quick! What are your top 5 favorite movies?" I instantly put "One Way Passage" on my list. I wasn't surprised when it wasn't on anyone else's list, this is an obscure gem.

The balance of melodrama and comedy is perfect; as it is in many thirties Warner Bros. dramas. It seems strange at first, but think it through. (For example, my ux Tom posits that Warners's unusual lug-n-mug filled western, "The Oklahoma Kid" is probably accurate, as most of the folks in the historical wild, woolly west moved from the wild East and could have talked like Cagney.)

The McHugh and MacMahon sub-plots are are not just comic relief from the romance, they are deftly integrated into it, and they become romantic co-conspirators. This adds to the appeal; the descriptions "chick flick," "weeper," "women's picture" can not apply.

The leads are sexy, gorgeous, and lovable. The crossed cigarettes tossed on the beach shows how the restraints on old movies resulted in delicious images. The crossed, broken cocktail glass image, at first seen quite early on in the movie, makes me question why IMDb Comments posters are saying this is movie has an unhappy ending (that's not a spoiler, is it?)


Kay Francis and William Powell are doomed lovers in "One Way Passage," a 1932 film also starring Frank McHugh, Aline McMahan and Warren Hymer. Right after meeting the lovely Joan Ames in a bar, escaped murderer Dan Hardesty is caught by Sgt. Steve Burke and brought back to San Francisco via ship to be hanged. Ames is also on board ship; she's dying of an incurable illness (probably some form of heart disease they couldn't do anything about in 1932). Knowing the sergeant can't swim, Hardesty, handcuffed to him, jumps overboard and, while trying to drown Burke, steals the handcuff key and frees himself. When Burke yells for help, it draws attention from passengers, and Hardesty has no choice but to save him. To thank him for saving his life, Burke lets Hardesty walk around the ship with no handcuffs. Thus, when he and Joan meet again, she has no idea he's headed for a death sentence, and he doesn't know about her.

I saw Carol Burnett do a send-up of either this or the remake - just think if Burnett were on TV today, no one would have any idea what she was doing. How times have changed.

This is a beautiful film with wonderful performances, not only from Powell and Francis, but from Frank McHugh, Aline McMahon, and Warren Hymer. McHugh is a petty crook who runs into McMahon, another crook who is posing as a countess. She catches the eye of Sgt. Burke. It's a great subplot with some fun moments.

Powell is gallant, melancholy, and charming, and Francis is glamorous and lovely; both give very touching and sweet performances, each knowing he/she isn't going to live. Each time they drink together, they break their glasses and cross the stems, and this crossing is something the camera focuses on as they sit in a cove in Hawaii and toss away their cigarettes. The ending is one of the best ever and will make the viewer smile and cry at the same time.

It's 1932, so some of the sound seems to have been done in an echo chamber, but that shouldn't bother anyone. "One Way Passage" is a treasure of a film.


Two passengers aboard a ship sailing from Hong Kong to San Francisco are doomed. Joan (Kay Francis) is in delicate health and probably does not have long to live. Dan (William Powell) has been arrested for murder and is being brought to the states to be hanged. They meet in a casual way, unaware of the others problems, and fall in love. Leaving a trail of crossed stems and broken glass, they spend their passage enjoying their last moments on the earth.

To be honest, I was more impressed with the secondary actors in their roles than Francis and Powell. Aline MacMahone is so regal and beautiful as the fake countess. She really knows how to put over a comedy line and she never seems overly tough. Frank McHugh has some great comic moments and provides an extra dimension to the film. Even Warren Hymer as the cop is rather good.

This is a sweet romance with great photography and snappy direction, a wonderful example of early 1930s film making.


In between his time with Paramount and MGM, William Powell did a two year stint at Warner Brothers where I don't think Jack and his brothers ever quite knew what to do with him. His films there, vary in quality, but the best of them is this doomed romance with Kay Francis, One Way Passage. The title itself tells how poignant this film will be.

Powell is a fugitive who is tracked down and brought aboard ship in handcuffs by San Francisco Detective Warren Hymer. Powell escaped while being transported to San Quentin to be hung for murder. At the same time good time party girl Kay Francis is traveling home essentially to die. Unsaid at the time because the audience knew what the effects of bootleg liquor were on some people from the Roaring Twenties. Her organs are generally failing and she's coming home to die.

These two people are as poignant a pair of lovers as has ever been brought to the screen. Neither knows about the other and the aura of heartbreak just permeates One Way Passage. It's a cosmic joke played on them, both finding in each other a reason to live and both knowing it can't be.

Warren Hymer plays it a great deal straighter than he normally does. He's not the brightest cop in the world, but he's a far from the dim witted hooligans he usually is cast. Aline McMahon and Frank McHugh are a pair of confidence workers who both team up to help the doomed Powell and Francis. McHugh repeated his own role in the remake of One Way Passage from 1940, Till We Meet Again.

The most cynical heart will melt in seeing One Way Passage.


One of the stars of this movie is its casting. The developing relationship between Kay Francis and William Powell is so genuine and deep and affectionate. Kay Francis glows in every scene, yet her acting shines with her delivery. This movie is one of William Powell's best, for it really shows more depth and more feeling than most of his other movies which are somewhat lighter in style. There is a similarity in the Francis/Powell relationship as there is in that of Cary Grant & Deborah Kerr in "An Affair to Remember" (1957) in terms of depth, but Francis/Powell's is deeper. The supporting cast is superbly led by Aline McMahon and Frank McHugh. McMahon is a fine actress in this movie and quite beautiful, too. McHugh's style gets off to the right start in this movie and shows off his acting skill quickly. His later movies, especially in the Busby Berkeley musicals of the 1930s, emphasized more silliness, but "One Way Passage" shows more of what McHugh can really do when given the opportunity. I'm sure the director, Tay Garnett, had a lot to do with that. I don't understand why this superb film is not available for purchase. It is worth more than one viewing.


One Way Passage is wonderful is all respects. However, nothing is mentioned in these comments about it being remade only 8 years later as Till We Meet Again, with Merle Oberon and a wonderful (but I think quite underrated) George Brent. Both pictures are marvelous, and the casting matches each other step by step except for the detective. Warren Hymer (remember him as a dopey bad guy in Destry Rides Again) plays in his usual character, thus enabling Pat O'Brien to tower over him in his role. His performance, to me, tips the scale way over in favor of Till We Meet Again. Both picture are excellent, but I feel the later one, in so many little ways (aside from the pivotal detective role) is just better. It would be interesting to have a role by role comparison between the two--as could be done with Love Affair and An Affair to Remember.


In the 1930s, Hollywood remade pictures at an astounding rate. Often, only three to five years after the original film was made, the same studio would remake the film--and rarely were the two versions that different--just the cast. Now if the original film were somehow seriously flawed and the remake corrected that, I could understand, but too often, like the saying goes, "when you've seen one, you've seen them all". In the case of "One Way Passage", eight years later the film was remade with George Brent and Merle Oberon ("'Til We Meet Again (1940)"). While Brent and Oberon were fine actors and they gave it their best, the bottom line is that the original is pretty much the same film...only better.

In this film, William Powell plays a man wanted for murder who has been hopping the world trying to avoid the law. The film begins with him finally being caught by a nice but somewhat dim-witted detective (Warren Hymer--who made a career out of playing slow-witted guys). So, he books passage for them both to return from the Orient to America so Powell can serve his sentence--the death penalty! On board the ship, Powell is attracted to lovely Kay Francis. She does not know he's a condemned man, nor does he know that she's dying from a "Hollywood Disease"--a fatal illness that has very few symptoms, keeps you looking great and usually is unnamed! Both fall in love and spend all their time together--even though their love is fated to end before its time. There's quite a bit more to it than this, but I don't want to spoil the film, so I'll say no more about the plot.

The bottom line is that the film is original and extremely artistic. The music and soft cinematography work wonderfully together to make a very sad but romantic film. The only negatives are the impossibility of the story--if you think about it, it really doesn't seem possible. But, if you suspend your sense of disbelief, you'll be rewarded with a lovely film.


This is a truly remarkable film. I have only ever seen it once and that was over sixteen years ago. It is not normally my kind of film but found myself watching it one wet afternoon and I can still vividly remember not only the film itself but the impact it had upon me. William Powell shows just what a good actor he is. A convicted murderer being returned to San Francisco to be hanged he meets a terminally ill woman and they fall in love. Foregoing the chance to escape Powell returns the sick Kay Francis to the ship which is taking him back to his doom. The occasional relief of the awaiting gallows underlines the sacrifice he has made. Once back on board they play out the charade that their romance can continue, each hiding from the other their own known fate yet secretly knowing their own and each others. At once almost unbearably sad yet uplifting. On reaching harbour they bid farewell and agree to meet at a night club at New Year. The dramatic impact of the ending sent me into a flood of tears. even though this contains a spoiler alert I can't bring myself to describe the ending - you simply must see it. Tragedy played with Powell's usual diffidence but here it is only superficial. Great performances all round.


This delicate shipboard romance was a popular favorite in its time and it's not hard to see why. Robert Lord grabbed a well-earned Oscar for his original story, a fanciful but ingenious doomed lovers yarn that must have offered solace to Depression-era audiences whose miseries could only pale next to those of hard-luck leads William Powell and Kay Francis.

The elegant pair fall in love on a Frisco-bound ocean liner, each harboring a terrible secret that curtails their future happiness -- he's a convicted murderer returning to the gallows, she has a heart ailment and is living on borrowed time. Never mind why a dying woman is aboard a cruise ship instead of being ensconced in a terminal ward. Or why the authorities would send thick-witted Warren Hymer of all cops to bring in Powell.

This is irresistible hoke, and the director Tay Garnet invests it with wonderfully eccentric touches (like the burly lesbian among the trio of portly harmonizers in a Hong Kong bar) and innovative dream-like imagery (i.e., the startling camera zoom when Powell spots Francis at the ship's railing). He also manages the near-impossible feat of keeping Francis, the lisping clotheshorse, to a minimum of cloying eye-rolls, with no small help from Powell's wry and charmingly self-effacing performance.

The heavy sentiment is deftly balanced by the sparkling deadpan humor of Aline MacMahon as the Russian Countess Barrelhaus (in actuality the Brooklyn con-artist, Barrel House Betty), who conspires with perpetual drunk Frank McHugh (his grating presence is the film's sole detriment) to assist the lovers.

The coda, set in a Mexican bar on New Year's Eve, is unforgettable.


I haven't seen 'Love Affair (1939),' but I have seen 'An Affair to Remember (1957),' and that film undoubtedly owed something to Tay Garnett's 'One Way Passage (1932).' In McCarey's film, a trans-Atlantic liner becomes a metaphor for love: two people fall hopelessly for one another, becoming adrift on a vessel of passion that precludes all former relationships or future life plans. When the ship reaches its destination  New York  reality intrudes on emotion, and love is thrown into turmoil. In 'One Way Passage,' the reality is death itself. Joan (Kay Francis) has been diagnosed with a terminal illness, and will be lucky to survive the journey to America. Dan (William Powell) has been convicted for murder, and in San Quentin awaits his gallows. Neither knows that the other is walking death row, either figuratively or literally, but love intercedes on their behalf: just as a star is brightest before its extinction, so too is love at its most passionate when the lovers' time is limited.

Despite its very brief running time (67 minutes), 'One Way Passage' is one of the great unsung romances. An aura of hope pervades the film. Though the viewer is always aware of the inevitable, I loathe to describe the story as a "doomed romance." Such a label would properly refer to, say, Lean's 'Brief Encounter (1945)' or Ophüls' 'Letter from an Unknown Woman (1948),' in which the prevailing mood is that of tragedy and misspent emotion. In 'One Way Passage,' not an ounce of passion goes to waste, each lover fully aware that their time together is brief. I was also struck by the notion that love doesn't necessarily entail complete openness between lovers. Lying, if done to protect rather than deceive, can be the most heartbreakingly romantic thing of all (I'm reminded of the devoted father in 'A Night to Remember (1958)' who, with admirable composure, assures his family that the Titanic will not sink, despite knowing that his own death is unavoidable). Garnett's casual use of long takes in masterful, giving the story a poetic fluidity without drawing attention to itself.

William Powell was one of the busiest stars of the 1930s, enjoying the security of, not one, but two recurring characters (Philo Vance and Nick Charles, both detectives). 'One Way Passage' was produced by Warner Brothers before he moved to M-G-M in 1934. Even before 'The Thin Man (1934),' however, Powell was one of the classiest stars in Hollywood, here delivering his dialogue with unsurpassed aplomb. Kay Francis was a new face for me, but her eyes simply sparkle with life and emotion, her character torn between the joys of love and the heartbreak of impending death. Of the supporting players, only Frank McHugh  as a drunken pickpocket with a weaselly cackle  destroyed the mood of the film, his alcoholism far less amusing than Nick Charles' subsequent hankering for martinis. While Aline MacMahon and Warren Hymer are strong, 'One Way Passage' truly belongs to Powell and Francis, and to a love than persists long after its participants have moved on to other worlds.


William Powell, as a convicted killer on his way to the Chair, is in a Singapore gin joint. He's just about to enjoy his first sip of a Paradise Cocktail when he spills most of it -- after being bumped by Kay Francis, who smiles brightly despite having an incurable disease. "The wast dwops," she comments breathlessly. "Always the most pwecious!"

And so begins this perfect little daydream of a movie, with the absurd gallantry of the characters nicely set off by the crude pre-Code realism of the settings and details. Powell and Francis, who teamed for the last time here, were never better; they defuse the sentimentality of the material by underplaying it and playing against it. Warren Hymer and Frank McHugh, usually quite unendurable little toads, have the good luck to share their scenes with the serenely grounded and generous Aline MacMahon, whose sure touch turns them both into princes.

The silly old-movie tropes, like the love theme that plays each time the lovers share a cocktail, or their ritual of breaking their glasses on the bar and crossing the stems, pay off beautifully in the final scene. You'll laugh at yourself, but you'll choke up anyway.

p.s. Remade in 1940 as "Til We Meet Again," with pieces of "Dark Victory" crudely grafted on, the peerlessly uninteresting George Brent and Merle Oberon as the leads, and McHugh back to being a toad.


This film is a sleeper.

I had never heard of it an hour and ten minutes ago, and just caught it on television. William Powell's performance is outstanding.

My own delightful surprise find was Aline MacMahon, who was sublime as the Countess; what a beauty she was.

The sound and visual effects as shown on TCM are crisp and clear. It's a solid film that belongs on DVD.

I suspect we will never get the chance to own it for home viewing because of its age-1932, and the unfortunate trend of too many to dislike or ignore films older than six months


I agree with the reviewer who wrote that "Leo" is vulnerable to charges of being pretentious. It also dips into melodrama in a couple scenes involving Dennis Hopper's stock villain, and some of the other characters needed to be fleshed out more. However, I would much rather see a first time director tackle a project with the complexity and ambition of "Leo" than to have them make yet another pseudo wry, post modern, Tarantino imitation, or, worse, a boring, routine slasher film. Therefore, I applaud Mehdi Norowzian for his effort, even if his reach may currently exceed his grasp. I will look forward to seeing future efforts from a director who obviously has talent. BTW, I think one of the "external reviews" makes an issue of Norowzian's background in commercial work. I don't understand the negative view of this. Many talented filmmakers got their start directing commercials or music videos. Robert Altman made industrial films before his first, undistinguished feature, which starred future "Billy Jack," Tom McLoughlin. A person has to learn their craft somewhere. There are only so many Orson Welles types who spring forth a genius in their first effort.


Actually, I likened Leo to the Mickey Rourke film Angleheart as both films turned out to be a search for self.

In Leo you have a young, troubled boy named Leo who as part of a school assignment begins writing to Joseph Fiennes, who plays a convicted felon in prison.

When released from prison, Fiennes character sets out to meet the boy, Leo,and help both himself and Leo in the process.

Outstanding performances by Elisabeth Shue, who reprises her role as an alcholic from Leaving Las Vegas and Dennis Hopper who rules the small town's diner as Capt. Bligh ruled the HMS Bounty only with a lot more violence and sexual tension thrown in.

Sam Shepard's role serves as the Greek chorus and keeps the viewer aware of the progress of the other characters.

All in all a very good film that will captivate and entertain.


This film held my interest from beginning to the very end with Joseph Fiennes, (Stephen) leaving a prison after serving a sentence of murdering a man and has been given a job at a dinner with some very strange people running the establishment. Dennis Hopper,(Horace) plays the role of a very dirty filthy old man who abuses a young waitress in sexual ways to degrade her. There are two central characters who appear in this film which has flashbacks with Elizabeth Shue, (Mary Bloom) who is a very attractive young woman who is married to a professor and lives in a very comfortable home and has a young girl. Mary Bloom is told that her husband is having an affair and Mary reacts by making love to a man who is painting her home and from this point in the film everything begins to turn into many different kinds of mysterious events. Great acting by the entire cast and especially the performance of Elizabeth Shue. Enjoy


Why had I never heard of this movie until I saw it sitting on the video store shelf? I hadn't seen Elisabeth Shue in anything really good lately, and I hadn't seen Joseph Fiennes in anything since Shakespeare In Love, so I didn't have high hopes for this movie. But I'd have to say it's one of the best I've seen in a long time.

This is one of those movies in which different story lines converge into one towards the end of the film. Fiennes is a recently released convict, having served 15 years for murder. Shue portrays a lonely wife and, later, a seemingly heartless mother. While both actors are great in this movie, Shue in particular is shocking (in a good way). Shue is unfailingly likable, whether playing a babysitter or a hooker, so seeing her as Mommy Dearest is both unsettling and refreshing. Having been in the industry for nearly 2 decades when this movie was released, it's exciting to see the (still gorgeous) actress making yet another Leaving Las Vegas-style breakthrough.

I don't want to give away any important plot points, so suffice it to say that this movie left me with the same disturbed, depressed, yet greatly moved feeling that I get from movies like American Beauty. Don't let the fact that most people have never heard of it keep you from picking it up during your next trip to the video store.


First of all you must be an adult who likes serious drama to watch this film, otherwise, negative comments don't qualify. For a first time director to helm a cast of extremely talented actors, he's created a drama just short of a masterpiece. Joseph Fiennes is one of the most underrated actors working today. His mastery of the American southern dialect is superb. Elizabeth Shue, who is constantly overlooked when juicy female roles are doles out, once again delivers a remarkable performance as does Deb Unger in a lesser and difficult role. Sam Shepard and Dennis Hopper are up to par as usual. This talented cast worked for scale and for the sheer love of the project and it shows. For a low-budget independent film, the DP went to great lengths to set up unusual photography and is better than most 'A' pictures. The flashbacks and present day stories are combined so well and naturally, it's easy for anyone to follow the engrossing plot of a kid, born out of wedlock, the night his mother's husband and daughter were killed in an auto accident. Shue, the mother, blames Leo, (Fiennes) the rest of his life which leads him to murder and prison while trying to save his mother's life. But even then, she won't come to his defense. It's a cold picture of child abuse and neglect of a smart intelligent kid longing to be loved while always trying to do the right thing, no matter the consequence. The movie is heavy drama and if you expect less, you'll be disappointed.


I bought this movie, Leo, three years ago in the "previously viewed" section of a ubiquitous movie rental company. I'd not heard of the movie until I saw it for sale that day and bought it merely because Joseph Fiennes was on the cover. What a gem I discovered. Not only in the fine cast but also in their performances, the direction and the cinematography. And this was Norowzian's directorial debut - outstanding.

As far as film and television media is concerned I am limited in terms of critical commentary by the fact that I don't watch television (I've never owned a television set) and thus see most movies either on the big screen or on my computer screen. However, this movie so profoundly moved me that I wrote a commentary on a note card and placed it inside the "Leo" DVD box the first time I saw the movie three years ago. I watched this movie again last week (I've watched Leo ten time since I bought it) and still feel strongly that this a great movie that ought to rank as a classic. Following is the commentary I initially wrote about "Leo" three years ago:

"In thirty-five years of watching movies and with an increasingly critical eye, I must rank this movie as one the best movies I have ever seen. To articulate a thought through an image; to express an emotion in a gesture is not just film making, it's poetry. The French Existentialist, Albert Camus said, "Like great works deep feelings mean more than they are capable of saying." This movie is the exact felicity of Camus."


Friends of IMDb :

i've just finished watching this movie , and i am telling you its one of the best movies i have ever seen ...

i've noticed that there's only 197 votes till now ... is that possible ? the dialogue is amazing , the acting is heart devastating , and the cinematography is perfect ,not to mention the lovely acoustic guitar background during the movie ...

i don't know if it would make any sense to you guys , but for me this movie is a combination of Taxi driver and forest gump ( if the latter was as intellectual as leo here )

i believe that Fiennes tackled a tough and complex character here ... he really did a great job !

A must see


The movie itself is a kind of southern Gothic drama with a very distinct cinematographic approach. The storyline is made up of two subtly intertwining narrative layers that make the movie as a whole hard to grasp at the first look, but thoroughly convincing as an independent character study at last. Very complex material in terms of plot and narrative style, very gloomy and depressing in terms of character portrayal and very distinct in terms of pace and cinematography. A convincing and experienced cast round off the movie's basic quality. The complexity and the unusual style might make it hard to digest for the masses, but it is a real gem for people who like to look beyond the surface and dive into the mind of the protagonist.


LEO is the kind of film few people will have heard of--and that your local video store dealer will try to get you to rent because he knows nothing about it, either, and wants you to check it out for him. That's what happened to me, at least. And with a cast this interesting, why not? Let me tell you why not. This is a very ambitious attempt to deal with themes of identity, child abuse, guilt, redemption and acceptance (all wrapped around James Joyce and his Ulysses, for Christ sake!)--with almost none of the requisite writing or directing talent to back up all that ambition. The director appears to have relied upon his good cast, who undoubtedly came aboard due to the ambitious script. But acting talent can only go so far; here, it stops well short of productivity. Elizabeth Shue is particularly wasted--emoting to beat the band in a role that is one-note (well, one-and-one-half) and tiresome. A young actor named Davis Sweatt does wonders with the main character as an adolescent, and Joseph Fiennes is fine, too. Deborah Kara Unger gets abused again (she's got to stop this sort of thing), Dennis Hopper is his usual nut case, and Sam Shepard's laconic and macho. By film's end, almost anything good has fallen away and what is left seems like pure pretension. It's rare to see so much possibility come to so little.


Well, there is nothing to tax the old brain cells on this one. It is a very straightforward plot of a young but poor Irishman who sees no sense in being perpetually cheated for the price of cattle and so dares to form a local cattle drive to bypass the local buyers by taking them directly to market some 40 miles away. But it is the beauty and grace of the characters of Mark and his friends who refuse to be bullied, the wonderful countryside and a haunting musical theme that entrance the viewer. Each obstacle is a test of character and irrational acts of violence never precipitate.

How not to lose your temper might be the motto here. But the final result is a very endearing and moving experience.


I just saw 'Durango' yesterday on Hallmark. I was kinda put-off by the title but the movie is beautiful and Matthew Keeslar makes you go droool.. Anyway, the movie is basically about how this guy named Mark refuses to be victimised by a corrupted swindler and takes up the cause of the villagers and undertakes an ardrous journey to sell a flock of cattle. The movie is set in Ireland, in the 30s and providing as a background are references to the World War and the IRA. Adding to the appeal of the movie are many humorous situations and Mark's affair with Annie who has a rather domineering father. It's basically a nice sweet movie and you won't feel you've wasted an hour or two but the scenery of the Emerald Isle will linger on long after seeing this movie. The acting is good and Matt Keeslar does have potential excluding his looks.


Though this story is certainly somewhat "predictable", it lets all of its viewers have a feel for something which of late seems almost elusive. That"something" is PERSONAL INTEGRITY. Can you find that much maligned virtue INTEGRITY in places such as Washington D.C., the realm of professional sports, the local street corner where minors are victimized by drug dealers or even in personal lives which seem to be foundering too much of the time?

Somebody once suggested that "virtue is its own reward". This story certainly and eventually heaps rightful rewards on those who make their choices either out of selfishness or integrity. Each of the characters subtly adds a contribution to this tale of love and persistence. And they collide in the scenic Irish arena of the early 1940's when the world was about to change forever.In the end, we are reminded that values are either good or bad and somehow bring conflict and eventual resolution. Good does not always triumph over evil.This simple but enticing story reminds all that there is a difference between them and no one goes on without being affected by whatever choices people will make.


Judith Light is to be commended for her choice of projects; she is very good in the role of Alice, a single mother who is originally imprisoned for embezzlement, then sold out by her criminal defense lawyer; who,it turns out, made a crooked deal with a judge.

While the story is a bit convoluted about her actual prison record, she is sentenced to 5 years, even though I doubt this would occur, as she had minor non-violent crime (apparently).

Chelcie Ross is excellent as the bureaucratic warden, and there is a scene wherein Judith Light and he confront each other....Inmates are told they are human garbage as the prison guards rape and abuse them. Things like this go on in hospitals; so it is certainly believable that this occurs in prison. There is a scene where a suicidal inmate receives no medical attention, is restrained and hog-tied by 6 prison guards, and never sees a physician.

Stacey Keach portrays attorney Jackson Devlin, who finally brings this story national attention, with the help of Light's character, and many of the inmates, who are named "Jane Doe" in the class action lawsuit. They are anonymous so that their supposed "rights" are protected. Apparently, though, no one has any civil rights, and one guard named Stu is found dead, a staged suicide; he was murdered by one of the prison staff to protect their jobs.

At present, in the U.S. there are more people in prison than ever; the statistics are staggering; many mentally disabled and indigent are wrongfully imprisoned; they cannot afford a lawyer, so they rot in jail. Is this demoralizing treatment warranted?. It certainly does not make this society a better place to live; It also has been proved that executions are not a deterrent to crime.

If you liked this movie, you may also like "The Life of David Gale" with Kevin Spacey; there are many thought provoking arguments here, decide for yourself.


The only portion of the previous comment I agree with is that the movie is good. The statements of "the guy hardly ever did anything" is entirely wrong. All throughout this film there are scenes of rape, beatings,coercion and forced medication on the part of the prison guards onto the general population. There is only one female guard in the entire prison so men are allowed to do as they wish to women who have been cast out of society for acting "unwomanly". It is a wonderful film and a true account of the horrors of the modern day prison system. We seem to hold the belief that when someone is incarcerated, guilty or not, whatever treatment they receive on "the inside" is something they deserve. What about respect for autonomy and human dignity? what about the concept of rehabilitation? We lock human beings up in cages like animals and subject them to constant inhuman treatment and wonder why upon release they wind up more violent and committed to a life of crime than they were upon entry. I wish more could see this film, perhaps it would give needed attention to a large problem hidden in plain sight.


I thought this was an excellent movie. I give it 10 out of 10 stars. Everything about it is great, acting, directing, production, script, music and storyline.

Spoilers Herein

The treatment in some of these women's prisons is unacceptable. They are criminals but they should still be treated humanly. Correcting people is not treating them nasty and doing inhuman things to them like in this movie. These things include rape, abuse, sodomy, the use of torture equipment and special privileges and gifts in exchange for sexual favors. This is extremely wrong. Kudos to the cast, crew and filmmakers. Two Thumbs Way Up!


I must say I was surprised when I saw this movie. I never would have thought it'd end the way it did but its a lifetime movie so it had to. It seems that all lifetime movies end on a good note for the women but that just seems to be a bit unfair I mean half the time the guy did nothing at all. I am glad that it worked out in the end but i had missed the middle of the movie so I can't give it a perfect score but it was good all the same. The movie was a good way to view how justice can be served when its needed. I never thought the twist would be the way it was. The movie was a good movie and had a good plot. I wish I had seen the middle of the movie. I mean I never expected the one scene when the one girl went up to the office to have happened. I'm sorry to say I have to give it an 8 out of 10.


If you are looking for a funny, touching, insightful, feel-good movie then Ten Inch Hero is for you. It's a story about four young friends and their older, hippie dude boss at a sub shop searching for love and learning to see past outer appearances and let go of preconceived notions.

It's a deceptively simple movie. After all, we all learned in grade school not to judge a book by its cover, but maybe the simplest lessons need to be revisited every once in a while. Who among us can say we've never assumed something about a person from their outer appearance? Who hasn't felt like they didn't belong in a certain group or situation because they didn't fit the profile?

It's no wonder many of Hollywood's young actors wanted roles in this movie. Hollywood can be one of the more superficial zip codes on the planet. A handsome actor gets a role because he is handsome, but is another role denied him because he is too good looking? Good looks are a two sided sword; they may get you in the door, but will your talent be recognized? Will you be relegated to the hunky hero roles or will you be allowed to create unique characters?

That brings us to Priestly. Ah yes, Priestly! Priestly is unique, riotously funny, individualistic, sweet, witty and charismatic. Priestly rocks! He grabs the audience from his dynamic entrance and never lets go. He immediately starts spouting his sage opinions with witty humor and biting sarcasm and the audience is putty in his hands. Considering his look, with piercings, tattoos and multi-colored Mohawks, it must be the writing and Jensen Ackles' acting that sells this character. It certainly can't be Ackles' leading man looks; especially since most of the audience had no clue who he was.

Halleluiah! Maybe now the PTB will recognize what a gifted and talented actor Ackles is. Jensen Ackles always puts underlying subtext in his roles. He is a very subtle actor who becomes his characters and Priestly is no exception. His fans appreciate him most from his portrayals of Alec on Dark Angel and his current role as Dean Winchester on the CW's Supernatural. He has the ability to take a seemingly straight forward character and find the depth in them and expose their fears and inner workings with a stark realism that blows you away.

Priestly is a nice change of pace because he is allowed to embrace his comedic talent while portraying his most normal and well-adjusted character yet, despite the character's outward appearance. He takes a character most of the audience would avoid in real life and makes them care! Most of the audience would invite Priestly over to Sunday dinner by the end of the film. They loved him that much. It is refreshing to see a character whose looks appear so outside the norm be so content and happy.

While Ackles may be the obvious standout, the entire cast is superb. This is an ensemble piece with every actor bringing a fresh outlook to their character and making us care about them. We laugh with them, we cry with them and, in the end we rejoice with them. You believe in this sandwich shop and the diverse people that inhabit it and you become involved in their lives.

If you have ever attempted love or been to High School and lived within the confines of cliques, you can enjoy and empathize with these characters. The concept of outer appearances is examined in several different manners with every character discovering something new about themselves and the world around them. We all know not to judge others by looks, but how many of us realize our view of ourselves may not mesh with how the world perceives us? We may hold ourselves back just as much as we confine others.

Ten Inch Hero is downright entertaining. First and foremost it is funny. Priestly is the comedic voice and the tampon scene will go down as a classic. The movie is beautifully photographed with peaceful scenes of the beach interspersed with the lives of the friends. The director, David Mackay, keeps the movie flowing at a comfortable pace, shifting back and forth between the characters' stories, but always holding your attention. There is no clock watching or restlessness, just an engrossing, satisfying movie.

The script by first time screenwriter Betsy Morris is refreshingly realistic; it is not overly dramatic or contrived. Everything does not turn out as expected and there are three or four nice twists to offer a few surprises.

Yes, it has a happy ending although everything does not turn out perfect. Living in these times with war and fear rampant, maybe we need a pleasant respite from daily life. Isn't that what the movies are supposed to do? Take us away from our lives? The funny thing about this movie is it stays with you. Once you are reminded of that grade school lesson, you start viewing the stranger you pass on the street a little differently. You look in the mirror and wonder if you are fulfilling your potential or if you are just staying in the preconceived box?

This is a movie you will enjoy. I liked these characters and would love to hang out with them. I can't think of a better recommendation then that. If you get the chance, go see it. And if you are one of the PTB, get this movie into theaters and don't assume the target audience is under the age of thirty. All ages can feel a connection to these characters and everyone enjoys a great comedy. This movie delivers in all areas. If given the chance, with the young, talented cast of up and comers this could be a sleeper hit. It just needs a little help getting noticed. Once you get them in the theater, they'll leave happy.


I have to admit it. I feared this movie would be WB fare because of the actors involved and the many young audience members at the film festival where I saw it who seemed, shall we say, infatuated by certain actors in the film. The girl next to me said "Oh I love him" or similar comments every time the character Priestly came on. Because at film festivals cast and crew and their families and friends often turn up, I was tempted to ask her if she knew the actor, such were her expressed feelings of seeming familiarity with him. My husband, actually, had wanted to see this film which could be, at first glance, dismissed as a "chick flick". However, I was pleasantly surprised at the snappy dialog, good plot, fun characters, and genuine emotion that this film registered. I also loved the feelings of camaraderie among the main characters in the film. It is a heart warming film and I highly recommend it.


I was lucky enough to be in the right place at the right time to see this movie at the Phoenix Film Festival and I absolutely loved it. The actors all did a great job, and the chemistry among the whole group was wonderful. I would love to have them for my new best friends. Jensen Ackles (Priestly) was really amazing--charming, charismatic and fantastically funny--an opinion clearly shared by the entire audience. Elizabeth Harnois, Daneel Harris and, especially, Clea DuVall put depth and heart into their characters and Jon Doe and Alice Krige were a joy to behold. The movie made me laugh out loud and tear up as well. Even my picky, analytical cynic of a husband was delighted and moved. The best word I can think of to describe this movie is "joyous." It is destined to supplant Pretty Woman as my new favorite movie to watch when I need a lift. I truly hope the movie acquires a solid distribution deal, because I think it would be a shame to deprive a wide audience of such a delight. I can hardly wait for another chance at it myself.


This was a wonderful witty movie that was a pleasure to watch all the way through. Some of the plot was a bit pat, but the interactions between all the characters was fun to watch. All of the roles were well cast. The chemistry between all the main characters was great, making it a real feel good movie. I found myself wishing I could work in the sub shop with them. Jensen Ackles did very well, delivering his comic lines with his usual perfect timing. Some other reviewers here took offense at the nudity, which was not inconsiderable, but I thought it was all tasteful and part of the story. I hope this gets distributed - I'll be recommending it to all my friends.


Ten Inch Hero is a touching, elegant and sweet movie about people not quite so ordinary, and the masks they wear for each other without even knowing, without even wanting to. It's also a movie about tearing down the masks and - simply - finding what's really important.

The movie is worth watching at least several times. The dialog is witty and sharp, the plot elegantly constructed and absorbing, the music masterful (and funny, because it perfectly mirrors the plot and - surprisingly - brings comic relief in a few carefully chosen places), the filming beautiful and professional, and the actors good, funny and entirely believable.

Clea DuVall is, as usual, a quiet but very intense presence on the screen, yet the filmmakers don't let her steal the show entirely. Same goes for Jensen Ackles, the central "fun" character, who has quite a few superb moments that show both his comedic ability and enchanting subtlety. Alice Krige was a wonderful casting choice, and her presence (complimented by the music) transforms the scenes in funny and touching ways.

In other words, I want the DVD, and I want it right now!


I don't know if I can convey in words exactly how wonderful this movie is. I was very lucky to see it at the 2007 Newport Beach Film Festival. And from the laugher and tears that the whole audience had, it was fantastic.

The stories of all the characters were combined to tell a wonderful story. The story, the direction, the acting, the music, was above par for anything you usually see today.

I was laughing so much at times my sides hurt. My eyes got wet at other times. And sometimes you just got an overwhelming since of happiness.

When it was over, I turned to the girl setting next to me, and we both agreed we wanted to see it again, right then and there! And the whole audience started clapping.

I surely hope to see this on the big screen, where I will drag all my co-workers and friends to. I have not stopped talking about it, and they are all now convinced to go see it, when it hits the big screens. And trust me, I'll be buying it when it comes out on DVD. It is one of those movies, that you can just watch time and time again.


I saw this at the Santa Cruz Film Festival and enjoyed it immensely. Jensen Ackles stole the show--anyone who watches Supernatural knows he's got great comedic timing--but the other roles were well-played, too (particularly Clea DuVall), and the story/characterization unfolded believably (for a rom-com) and enjoyably. The core of the script, with the team of friends working together at the sub shop, was engaging and smart, and the plot was solid (avoiding the huge leaps that plague many films) and even contained a few unexpected twists. I laughed, a lot; my companion cried, a little. I can't wait until this gets wider distribution so I can watch it with more of my friends. Perfection, no; an enjoyable evening's entertainment, surely. I'll be buying this when it's available.


I thought Ten Inch Hero was a wonderful film! I really enjoyed it! I wasn't sure what to expect because I had never seen an independent film before. It ended up being much better than I thought it was going to be. Even though I am a Jensen Ackles fan, that wasn't the only reason I loved Ten Inch Hero. The plot and storyline were well written and the characters were very interesting. All of the actors did a fantastic job in their roles! The film also had a great message attached to it that anyone can relate to. It wasn't just some superficial movie about a group of friends. I would love to see it come out in the mainstream theaters, I wish it already was so that I could see it again. I am definitely buying this one when it's released on DVD.


This is definitely the best romantic comedy that I have seen in the past several years. Great writing, solid acting and delivery, excellent production values. The dialog was fresh and edgy, and it was the first film that I have seen in a while that felt like it was written and directed by real people, and not vetted by a series of industry drones. The dramatic aspects of the film were familiar and yet not predictable. The women in the film were much more progressive and real than are typical in larger budget studio productions, and the portrayal of sex and sexuality was downright honest. The cast was obviously enjoying themselves, and stayed on task to deliver excellent performances. I really appreciated that it actually dealt with some real content and issues, but wrapped in a warm and fuzzy bubble-gum Saturday night eye-candy teen-Disney kind of context. I'm surprised that this wasn't snatched up by a distributor (note to distributors - snatch this up before the bidding war begins).


Ten Inch Hero is an emotional string of taffy that places an ensemble cast in precarious situations. Piper, the first person we meet, glides into view on a bicycle that reveals a great deal about her character. She, like the others, has a hidden secret, belied by her innocent face. Soon, her life becomes entwined with the rest of the cast as they dole out ten inch sandwiches and pieces of their past.

Symbolically, the layers in the sandwich represent the layers these characters try to bury, until at last, they realize the past is the past, and it is the future, which will hold them together, like mayonnaise on a turkey and rye.

What I found most amazing about this film was the way the writer, Betsy Morris, entwined laughter with sadness. This mixture of genres can often leave the audience feeling confused. Instead of feeling abandoned, the audience felt as if they were part of the story. These characters felt so real, I wanted to tuck them inside my jacket and take them home. The first act draws the viewer into a comedic whirlwind of wishful longing, then as the story spins into act two, the ax is dropped and the drama begins.

I laughed at the one-line zingers. I cringed when reality seeped in, and I cried when I found their truth. Ten Inch Hero is more than just a story; it is the soul we all long to live.

The writing, as well as the acting, is sheer masteryworthy of more than a festival blink; it deserves full screen distribution.


So taking off for the Santa Cruz Film Festival I had expectations of this movie already. From everything I read and seen about it. I can truly said it blow my expectations right out of the water. There is really no way to tell you how amazing this film was. It's one that you have to see for yourself. Every thing about it was awesome! From the cast to the script and the settings. I laugh and almost got a little teary eyed at one point. And what so cool we go to see it in HD! The characters were written very well. Each one was different in many ways but in some way they all related to reach other, and what's so great is that it's not something you pick up on right away. More toward the ending you start to see what it is. For a movie about friends it didn't come as fake. Like most movies about friends it's so Hollywood (aka superficial). Ten Inch Hero didn't give me that feeling once.

What I like about the movie was that was not 100% predicable. Yes it had it moments when the wheels where spinning in my head and I was able to call it before it happened but it also keep my guessing and took a few turns I never would have guessed. Like Trucker's past. The way they set it up for us to find out was funny, but when it came to open up about it, it was heart warming.

Same thing with Piper, Tish, and Jen road trip they take. That whole part of the movie was wonderful. Three friends on a journey but two for them are there to have the ones back just in case. I don't want to spoil the scene by telling you what happens cause it's just so awesome. When the scene end all I could think was wow that's there is a set of real true friends.

As far as the ending goes, yes it ended happy but not every thing was turned out like you would have thought. For me there are still a few questions open. But to tell you the truth it couldn't have end any better. Not sure I would have been happy if I got everything answered.

OK now on to my rant about Priestly! Oh man I don't think Jensen will ever stop blowing me out of the water with his acting! He so rocks! Priestly is something else. He is smart, funny, sweet, witty, unique and just made you melt. The first time we meet Priestly his entrance it so dynamic and fun you can't help but fall in love with the guy. Yes he looks different them most people with the crazy Mohawks (the multi color one was to die for), piercing and tattoos but his personality is what just grabs you in and you can't let go of it. He makes all kinds of points thru out the movie but does them in such sarcasm that it makes you stop and think about it. The only lines where to go! A few times in the movie where a heart felt scene was taking place it jumped in with his one lines and just made the scene ten time better. Priestly will stand out in my mind forever. He the kind of guy you might just have to look at twice for before you judge him. Also what was so refreshing about the movie that Priestly in no way was like Dean Winchester, Jason Teague, CJ, Alec. Jensen made him his own! I so recommended that if this movie gets pick up that EVERYONE SEE IT! Cause you will enjoy it.

So to wrap this up, all I have to say that the tampon scene will go down in history as one of the best ever! Priestly/Jensen so rocked it like no other.


This one reeks of IMDb rigging. All those glowing reviews and high marks and then you actually watch this turd and it's nothing like what the cast and crew reviews say it is. Many of the 10/10 reviewers admit to being prompted by someone who worked on the movie to write a glowing review, like we couldn't tell. Embarrassingly predictable, (they've sifted through every trite cliché they could find and distilled them all into this). Shot like a TV rom com, acted like it was shot before a live audience by inexperienced actors (ie they stick with entirely average performances rather than work them into something decent), lit for TV, scripted with a "try to please everyone" dumbed-down - syrup coated - hollow - interconnection of not really connected stories. I've seen many of these actors do much better, so it must have been bad direction that made them turn in these performances. Every smile delivered like an empty grin; every 'heartfelt' moment delivered like a it was read by a middle school drama class. For a movie who's tenuous message seemed to be "looks don't matter" (yet everyone is plastic-ally pretty) The only interesting character was forced to conform to the shallow beauty ethic by removing his individuality in order to get the loose girl. What a charming message that is, and for a movie that likes to think its so indie how incredibly mainstream of it.

Being mediocre isn't a crime but rigging reviews in order to trick people into seeing your movie is. I would have switched this movie off after 10 mins and clocked it up to mass market rubbish, but I persisted with this one in an effort to see what all the hype was about. What it turned out to be about is a manipulative attempt to push a worse than average movie that "should have been a TV show that got canceled" past viewers who under better informed circumstances wouldn't go near this. This is not a cool indie movie, no matter how many times the bought and paid for hype team say it is.

Maybe these people believe their own hype. maybe they think they're quirky indie cinema, maybe they think they're punk when they're really just jocks,

Did I mention the direction was really really bad. Each scene ploddingly laid out, each emotional response labored and hollow, no interesting camera work to add any amount of impact, edited in a workman like fashion, nothing has any chance of lifting this movie apart from the slogans on Priestly t-shirts, and only then they provide a passing amusement.

DON'T WATCH THIS MOVIE, DON'T BE FOOLED BY THE PUFF PIECE REVIEWS. It's biggest crime is not that it was below average. It is that they've purposefully tried to mislead people on here into believing it is something it isn't.

one last note, For a movie that seems to strive to be watered down Hollywood and not offend they slip in a full body nude scene out of nowhere, for no particular reason. Not that I'm offended but where did that come from and why? After watching the whole thing should I really be surprised?


I am sorry to say, that i am really disappointed. first by the movie i had to force myself thru right now, as well as by the amazingly high rating it got on IMDb. And i have to say: i am not at all against romantic comedies or if you want "chick flicks". But this one just had nothing to offer for me at all. It was filled with annoying clichés, the acting was embarrassing and the story totally, and i mean absolutely, predictable. there were so many scenes in the movie that made me feel physically ashamed for everybody involved in this production, that i still feel a bit dizzy. the music was awful and can be only compared to the terribly cheesy pictures the so called "artistic" main character is drawing. but that not enough. after 90 minutes of bugging the viewer how unimportant looks are the only slightly likable character changes his whole dressing and hair style to get the "hot chick" of the store, that seemed to be his friend already for years! It is hard to believe nobody else found that somewhat against the often cited "important message" of this train wreck. sorry, but i recommend to see forgetting Sarah Marshall a second or even a third time instead. the only reason i gave it 2 points is the standard editing you cant feel.


Terrible movie. I don't know who Betsy Morris is, but she did a terrible job with the script. The dialogs that should be spoken by young people today sound like my grandmother wrote them after reading a girl magazine. The acting doesn't help much, because the characters are so badly stereotyped that the actors must've felt quite stupid. Jensen Ackles is SO wasted in this movie. I don't mind that he was supposed to play something else than Dean, but his character got the stereotype thing the worst I'd say. I didn't notice directing and music much so they were probably just as mediocre as everything else. What else is there to like about a movie? A plot maybe. OK, this movie doesn't have one. There are a few story lines that somehow concern all those people working in a diner, but they're just as clichéd and stereotyped as the characters themselves. What the pluck was it about? The end was just as bad as the beginning and all the stuff in between. The few "twists" I expected since the beginning, I just didn't believe the script was really so dumb that it would actually go for ALL these cliché. 4 stars for the fact Jensen Ackles was there, for the cute blonde girl...you know what? I'll make it 3. There's nothing positive about this movie except two actors. (JA counts as 2 stars.)

Don't waste your time with this unless you had your brain lobotomized.


How do you write a poignant coming of age film that includes laughter, tears, and sub sandwiches? Well, I suggest copying off Betsy Morris's paper because she managed to do just that. Ten Inch Hero may be one of the strangest titles to grace the screen since Eat, Drink, Man, Woman but at its heart is a tale of the meaning of love and individuality. I was able to catch a viewing of TIH at the Phoenix Film Festival and it may just have been added to the list of greatest nights of my life. Though I am well aware that the majority of patrons attending this film were most likely drawn in by the prospect of witness Jensen Ackles (of Supernatural fame) in an outrageous Mohawk I can promise that you will leave that theater proclaiming the glory of Ten Inch Hero to anyone and everyone!


This is a sweet, quirky, feel good movie that does a decent job of capturing the Santa Cruz climate. I'm generally good at picking up on contrived plots and have spoiled more than one movie for my friends by guessing out loud what would happen next. Although this happened in a few places in this movie, there were also many times where I guessed wrong. There are some unexpected twists and turns, making the film less contrived than might be anticipated.

The film wraps up in that typical Hollywood way, in terms of most everyone seeming to live happily ever after. I do have to wonder, though, if Priestly has lived happily ever after...


Ten Inch Hero was like opening a present from your grandmother: like discovering that she got you an iPhone instead of the black socks you had prepared yourself to smile and be grateful for. In reality, that's exactly what this movie turned out to be - an unexpected surprise and a truly uplifting story - when realistically, the average viewer would have just been satisfied to ogle Jensen Ackles sporting a mohawk.

The story of Ten Inch Hero, written by Betsy Morris and directed by David Mackay, is told through the genuine and poignant interweaving accounts of an unlikely group of friends. Set in a sandwich deli in Santa Cruz, the plot follows the lives of the off-beat employees as friendships are created and relationships are formed, damaged, then repaired. The focus of the movie rests mainly on four young characters: a young artist searching for her estranged daughter, a brunette temptress sleeping her way through California one man at a time, the quiet and reserved humanitarian looking for romance on the 'net, and last but certainly not least, the quirky but sensitive punk rocker searching for love and acceptance.

Elizabeth Harnois gives an exceptional breakout performance as Piper, the artistic neophyte who introduces our 'Heroes' when she stumbles across the eccentric hippy-run diner and applies for a job on the spot, told "normal people need not apply". Harnois' role as a confused young mother searching for the daughter she gave up for adoption at the tender age of fifteen is heart-warming and emotional as she faces her fears and is rewarded in ways she never expected.

Also new to the silver screen, Danneel Harris is amusingly wanton as the brunette bombshell, enticing the men of Santa Cruz to the buy sandwiches by the inch with a come-hither smile and unbearably cheesy pick up lines. Harris makes what could be a predictable character surprisingly dynamic as her relationships with her friends deepen and help her to grow, and eventually, realize her full potential.

As Jen, the kind-hearted computer geek, Clea Duvall's performance is moving and surprisingly real. Jen is the quiet, saintly one of the boisterous group, known for giving hand outs to the homeless people of the community. Jen's transformation happens slowly throughout the movie, as she steps out from her sanctuary behind the computer screen to meet her potential true love, a man she has never met outside of a chat room.

Finally, Jensen Ackles as hilariously witty and enigmatic Priestly is even more charming and adorable than expected, and well worth the wait. With a different wonderfully weird hairdo and hilariously outragious t-shirt in every scene, Ackles brings a deadly combination of sensitivity and hilarity to the character, leading up to a delightfully romantic ending that is sure to leave every woman in the theatre staring up at the screen in love-struck awe.

Even without a star-studded cast (or anything remotely close), Ten Inch Hero is a diamond in the rough. The quality of acting comes as a welcome surprise, and the story has the audience roaring with laughter one moment and close to tears the next. Whether it turns out to be a sleeper 'hit' or not, Ten Inch Hero is unexpectedly gratifying and extremely entertaining, sure to leave a smile on the face of just about anyone who is lucky enough to see it.


I was working a film festival this past weekend and got to see this movie where it was playing at and I so loved it. Me and my friend loved it very much. We hope for it to get into theaters and on DVD. Jensen and everyone are great in it. Its funny and very real. LOVED IT!!!! I loved how every time we saw his character his shirt said something funny. There where also a lot of things in that movie I could relate too as well along with making me laugh. Sometimes with a movie its hard to be real serious and mix it with comedy with out ruining it, it was done very well. I thought each character in this movie was casted very well. Me and my friend loved it so much we watched it twice at the festival. I seriously hope this makes it to the theaters and especially...especially on DVD. If it goes on DVD me and my friend will be buying the day it comes out. If anyone reading this is going to a film festival and see this on the list, it is very much a MUST SEE!!!!!! Everyone is great in it and Jensen is so funny in it. If your a big Supernatural fan, you will love Jensen in it, it shows his comedy side as well:)


Betsy (the wonderful writer of this amazing film) personally asked me to write something because I had such great things to say about this film to her on Myspace. I could definitely not refuse her because I want everyone to know what I think of this film. I just want to say I came all the way from Florida to Los Angeles California to see this film. I was originally going to come to the Newport Beach one but I hadn't been able to because the airline ticket prices went up way too high at the last minute for me to go and I was so disappointed I couldn't go. Especially when I found out Danneel, Jensen, and Elizabeth were there, also and I adore all 3 of them.

On to the film itself what a wonderful plot, it was so touching and heartwarming. It really made me go through so many emotions while watching, I laughed, I almost cried (which is a hard feat to conquer in and of itself), and I left with that warm and fuzzy feeling, and wanting to see it again right after.

This is something that doesn't happen for me much anymore when I go to the movie. I find myself usually critiquing it to death, and realizing how unrealistic it is but this one I really could identify with, and I believe anyone at any age can.

Those feelings of insecurities that everyone goes through sometime in their life, and feeling that their not good enough, but having loved ones be there for you when you need them the most and telling you that you are. I think that's something that everyone goes through, and that's what the heart of this film really is about.

I can't really write enough words saying how absolutely amazing and awesome the cast is for this film. You could really feel the camaraderie that all of them had with each other, from what I've heard and seen it is on and off camera. I saw Elizabeth, Danneel, and Clea in the audience and they all got along wonderfully and then saw Elizabeth and Jensen at Comic Con and they also seemed to be very close. The way they hugged each other and laughed and talked to each other is something I can't say you see or hear about with most casts in films. Once they leave that set they probably won't interact again, but I don't think this is the case with them and that makes me love the film even more than I already could.

I also have to say this really shows off the casts acting skills. Priestly was a great lovable character and was definitely a role that was different for Ackles and he easily brought across that seamlessly to the screen. Everyone around me genuinely laughed and clapped and cheered something I also don't see much in movies and a lot of that was when the Priestly character was on screen.

I also want to say I didn't know that much about Elizabeth Harnois previously. I had seen her briefly on One Tree Hill and liked her on there, and also found out she was Alice whom I really loved as a little girl when I watched the Disney Channel but didn't really know exactly what to expect until the movie. Let me tell you she definitely exceeded my expectations as Piper. That storyline really touched me with her looking for her daughter, and coming to the shop and everyone taking her in and befriending her so easily. It was so nice to see, and I definitely want to see Elizabeth in more things to come, not to mention she is an incredibly beautiful actress.

I also feel the same way about Danneel Harris I thought she definitely played the character of Tish wonderfully, especially considering I had a good 5 min chat with her and she is absolutely nothing like that. Such a humble, sweet, nice individual. These are the kind of people I like to see making it in Hollywood and I really want to see them go far in their film careers and hopefully they will get noticed for this film. It would be an absolute shame that not everyone can see this movie! It needs to be released in theaters. I would probably go see it at least 2 or 3 times more just in the theater and of course buy it on DVD.

I hope by my writing this some production company will see this and take notice. I know so many people who want to see this movie and are desperate for it to be released. I've told some of them to come by and make that known too because there is definitely a market for this movie.

Best Regards, Liz Bodie Florida USA


OK, I'm not a member of the target demographic for this movie. I can't say for sure what the target is, but no one makes movies for those of us over 35. So I can assume I wasn't the audience the film makers were trying to reach.

But it did reach me, I loved it, and I highly recommend it. The world created in the film is familiar to us all. In less capable hands, that world could have been flat and lifeless on screen. Not so here. The every day life of friends is shown as raucous, witty, poignant, and as painful as we know real life to be.

The cast embraced the characters, obviously having a good time bringing them to life. You like these people and root for them until the end of the film. Clea DuVall has the pivotal scene in the movie, and is flawless as she takes you through Jen's search for love despite her insecurity. Jensen Ackles' performance makes sure you'll never look at tampon commercials the same way ever again. And special kudos to Alice Krige, who doesn't have a lot of screen time, but her Zo is memorable.

I've read some criticisms about the sex in the film; it's definitely in-your-face stark, but I don't think it was out of line for the storyline of the characters involved.

The soundtrack was dead-on, complimenting the timing of the story with just the right mood and expanding the aura of the characters as they cruise through the film.

Bottom line - I laughed, I cried. Then I laughed again, while I was crying. Any film that can take me through that in 98 minutes gets my over-35 vote of confidence.


Being a fan of Jensen Ackles, I was willing to make a lot of concessions for this movie. I thought that with a decent script, acting and some good moments I would be more than happy. I'm used to see comedy and romantic movies and if they are not that stupid I actually will love them, but this one was a complete disappointment. The script was completely predictable and full of holes. At some points I was wishing for the damn thing to be over so I could go and watch something actually interesting.

Though the acting was very decent, the script didn't work on favor of any of the actors, especially on the completely unnecessary nudity scenes of Danneel Harris. I think a good sex scene or nudity scene can be used for the benefit of the film but in this case you can note the intention of the director, writer and producers to add something to sell the film, at the inability of the script to do it by itself.

I think the whole idea of the movie was good, and Jensen Ackles' role has some good moments and all the actors seem committed to achieve a good result but the script and the filming weren't up to the level, with errors like the apparition of microphones on the scenes, making it seem like this movie was filmed by amateurs. I'm not trying to be hard here, I'm just being honest. The movie has it's moments but all and all, after I watched it I could understand why it was only released in DVD. To watch under your own risk.


This is going to be a warning. Do NOT count on the rating and the reviews of this movie on IMDb. They are fake. If you want to see it yourself, then just check the first few pages of the comment history in chronological order. Except a few honest comments, more than the first 30 comments in a row have "10 star" reviews over-enthusiastically praising this movie. This obviously arose through a deceptive campaign by the associates of this movie. If you need further proof to see that this movie is purposefully over-rated, then you may want to check the message boards as well; you will see many post regarding how people are desperately looking to buy the DVD if only it were available nearby, or how you can buy it.


I went onto IMDb, saw the 10 star ratings and read the vast amount of reviews in which people described this film as 'heart warming'. So obviously I expected a decent film. This film turned out to be an illusive teen flick about a bunch of people and their silly lives. The movie is full of stereotypical characters with bothersome personalities.

The story line and plot were appalling at the best!

I give this movie two stars for the actor Jensen Ackles who plays Priestly. He's the only genuinely good actor in this film, he was the one that added a bit of life to this dreary film. One more star for the laughs I received from the terrible ending!

I wasn't happy at the end of it, I wondered why I watched it. It was lacking in good script, characters and actors, who were supposed to bring them to life. Don't believe the hype because you'll end up disappointed.


Ten Inch Hero is an enchanting and enjoyable film about the Beach City Grill and its motley collection of employees. It takes the viewer on a gentle yet sometimes heart-wrenching ride through the daily lives of Tish, Piper, Jen and Priestly, under the watchful eye of the sandwich shop owner, Trucker.

The premise sounds simple, but like all heart related matters it's more complicated than it first appears. The question of the day seems to be is it possible for a misfit to find love? Tish, (Danneel Harris) the resident nympho, seems to think that love can be found in great sex. If only there were some great sex to be found. Piper (Elisabeth Harnois) searches for love in the form of her long-lost daughter, and Jen (Clea DuVall) explores the Internet for Mr. Right. Only Priestly, (Jensen Ackles) with his generous piercings and colourful mohawk seems to be the voice of reason, thumbing his nose at relationships and ridiculing the others for their behaviour with men. Rounding out the diverse group is Trucker, shop owner and die hard hippie. Played by John Doe, Trucker is as sensitive as he is wise, although neither trait is particularly apparent whenever Zo (Alice Krige) is in the room. Zo has an ethereal quality that is as tangible as her gentle smile, and Trucker finds himself dumbstruck whenever he's in her presence.

The casting in this film is truly beyond compare. I find myself enraptured by every scene, drawn in by the intensity of emotion and depth shining from the eyes of each performer. Elisabeth Harnois is blessed with beautifully luminous eyes, which she uses to their full radiant power in this film. She shows us everything from the wide-eyed innocence of youth, to the joy of new-found friendship, and on to the suffering parent longing for the missing piece to her heart. I imagine that her ability to open her eyes wide and let the tears well up must drive men wild. Clea DuVall is equally radiant, despite all attempts to make her look frumpy. She is a talented actress and an attractive woman, and her sincerity shines through regardless of the sweatshirts on her wardrobe rack. Her breakdown at the campfire left very few dry eyes in the theatre; her character is one almost everyone can identify with and the relationship issues mirror those all women have felt at some time in their lives. I imagine that Danneel Harris had a lot of fun playing Tish. Cute, perky, and oh-so-popular, Tish is the sandwich shop diva. But even the princess has issues with men, and she shows us how popularity is no substitute for true love. Of course my heart will always belong to Jensen Ackles, who steals the scene every time he's on screen. Once again, he doesn't disappoint; Priestly kept me laughing every second, often without saying a word. Granted, much of that had to do with his eclectic collection of T-shirts, spouting slogans such as "Save a tree  eat a beaver" which appeals to me as a Canadian, and " Orgasm donor  ask for free sample" which appeals to me as, well, as a woman. But Jensen's unique genius is found in his body language and facial expressions. Jensen lives every line, every thought and feeling and conveys it with a look; a flash of the eyes; a half-smile. Dare I say it? Yes, even with an emphasized eyebrow waggle and a gay falsetto. Poor Tad, Priestly is far too perceptive and Jensen is far too expressive, you never had a chance.

Although the film is excellent, beautifully written and artfully filmed, there are two places where I feel the activity on screen detracts from the story. The overall pace of the film is very gentle and contemplative, and the sex scene with its unwarranted nudity feels out of place. In my opinion, the same statement could have been made with a closer framed head-and-shoulders shot, at least for the first half of the scene. The second is the scene with Piper and Jen at the beach. The entire film has a distinct lack of background actors which I found refreshingly different. Having already noted this I was almost shocked to see what should have been background looming in the foreground, to the point where the actor must have been walking within a few meagre feet of the camera. Had this scene contained an assortment of people walking the beach, I wouldn't have given a second thought to a pair of legs blocking the camera for a second and in fact I probably would have heralded it as a stroke of brilliance on the part of the director for drawing me more deeply into the scene. However, the fact that these legs represented the only other person on the sand that day, my reaction is to ask why they couldn't just walk behind the camera instead? Despite these two burrs beneath the saddle, I find myself admiring the aesthetics of the film. Charming in it's simplicity yet creatively presented, with locations that feel familiar enough to allow me to put myself into each scene. Under the watchful eye of director David Mackay, whose bumper-car cameo had me elbowing my friends in delight, the camera successfully captures the feeling of a lazy summer afternoon, an exciting road trip, a terrifying grocery store purchase, and a welcoming neighbourhood eatery, all with a smooth flow and comfortable feel.

I can unreservedly recommend this film as a delight to watch. The heartfelt story, brilliantly written and generously laced with humour is a credit to its writer, Betsy Morris. Her script exemplifies the delicate touch of the artist and demonstrates her understanding of the inherent fallibility of romantic relationships. The film conveys a feeling of hope, both for the future and for restitution of the past. With an excellent soundtrack, ingenious acting, precocious storyline and beautiful scenery, Ten Inch Hero has everything one could want in a film.


I had been waiting for a good long time to see this movie and finally got the chance at the July screening in LA. The biggest compliment that I can think to give is that the movie captivated me from the first frame through the last and that it delivered exactly what I had hoped it would (with a few surprises along the way).

The cast was fantastic, bringing the witty and touching words of the script to life in a fun, beautiful setting. Though I had seen bits and pieces about the film through blogs and pictures, seeing it all play out in a theater was fantastic.

There is so much more I could say, but I have refrained from even telling my friends the details because this is a movie best watched unspoiled for the first time. I can only hope that it will get picked up for distribution and that I will be able to see it on the big screen again as well as on DVD.


This was an amazing movie that somehow managed to make me laugh and cry in the span of an hour and a half. And if I'm expressing outward emotions, it must be amazing. Seriously. Everyone should see this movie, I don't care who you are. All the actors were wonderful in their roles and Jensen Ackles once again worms his way into the heart of every girl on the planet. Clea Duvall is wonderful and really makes you care about her and relate to her. After this movie, you kind of wonder what fronts you've been putting up for the rest of the world. David and Mark have created a wonderful film for everyone to enjoy and Betsy's screenplay is just absolutely brilliant. Even ninjas love Ten Inch Hero! Oh, and pirates, too.