“I HATE people. I think of them like pegs. Part of this neverending boardgame constantly moving around in circles, but going nowhere. Look HOW they talk. I’m sure most of it is about nothing. They’re always selling something. Just look at them. Yeah, I know what you’re thinking. This guy is a narcissist. You’re not the first to open up to me there trust me. I seek self gratification through dominance and ambition…..I am so bored! So SICK and TIRED of the same routine. I’m pathetic! Habitual. It’s taken me a while, but I’ve finally fell into that same abyss. Just like the rest of them. And I hate it. Look around. They’re, they’re smiling. They all seem so happy, but I know inside they’re miserable. Scrolling through life because they know they have too. They don’t have a choice. Neither do I. HOW PATHETIC! HOW DO FAT PEOPLE CARRY THEMSELVES?! HOW DO UGLY PEOPLE LOOK IN THE MIRROR?! There’s nothing worse than someone who’s fat and ugly.” Opening narration written by the film’s director Jorge Ameer.
Just…..you get the deal. Whenever anyone creates a list of worst film directors one individual who always gets overlook is Jorge Ameer. He is incompetent in every single possible thing he does in filmmaking, and repeatedly fails to learn from it. Now think about your least favorite film, and Jorge Ameer has likely made something worse than that. Unless of course your least favorite film is by Jorge Ameer than it’s nearly impossible to top. I am in no way over exaggerating on his lack of talent. Ameer made film called “The Singing Forest” (it’s in RT database as “Singing Forest”). It is a romance film that inter-splice actual footage from of the Holocaust made tasteless when the Holocaust has nothing to do with the movie. He manages to make that film even more tasteless by despicable characters and boldly claiming rape babies have no soul. Jorge Ameer is the kind of filmmaker you don’t want to punch, but kick in the balls because of how bold he is to deliberately not use common sense.
D’Agostino is about Allan Dawson going to Santorini to discover a human clone in his recently inherent property. Your first impression of the movie is with that monologue in the opening of this review. Our protagonist utter those words and does not at any point become likable or worth of an analysis. The way he talks in his opening monologue is pretentious because he at no point attempt to elaborate on why he hates fat and ugly people. Pretending to be deeper when in actuality he’s about as shallow in his perception of people. I would go as far as to say that opening monologue is pointless in a film that is about nothing. Sure the synopsis gives the facet it’s a small scale and possibly thought provoking sci-fi thriller. Except for the fact cloning is only mentioned twice in the film. Once in the first act when Allan discovers D’Agostino backstory by typing his name in a internet search. [One enraged therapy lesson later]. The other time it’s mention is fifty minute later where Allan Dawson barely makes the connection technology can now make clones which in this movie is about a couple of weeks. Talk about slow in the head. I’m of course referring to Ameer thought process not the fictional character.
Now some background information on Allan Dawson maybe wife (which he refers to her by). Dawson maybe wife wants to have a child. That’s all the development Dawson maybe wife gets and is used only use once other time as a purposeful plot device. What astonishes me about Ameer is his ability to one up himself in sheer stupidity. In the film, Allan Dawson hasn’t propose to his maybe wife even though they live like one. It’s unclear how long they’ve know each other, but if both are comfortable enough to sleep together in bed in their pajamas and later on get fancily dressed for dinner than they have a good relationship in movie logic. In a twist pulled out right out of his, well I’m not sure if Ameer has one since that would actually make some level of sense. Oh yeah, in a spontaneous twist the clone kills Dawson wife, and cooks her to which Dawson has no problem accepting to eat. Proposing to a woman Dawson known for a long time is difficult, but accepting she got killed, and eating her is relatively simple. Got to admit, no one has quite the misunderstanding of people like Jorge Ameer.
So Dawson maybe wife is just a character created for a single plot point. Now the reason Dawson goes to Santorini is because his mother is recently deceased, and left him her home in her will. Any logical person would explain no matter how poorly or flimsy why the protagonist mother has a naked grown man in her dungeon closet. This in no way is ever addressed neither are numerous questions. I wonder how no one, especially neighbors, discover Dawson has a chained naked man in his closet. Than I remember there is hardly any extras in the film. I know Jorge Ameer is a [removed profane comparison between Donkey and WW2 propaganda], but come on extras…okay I got nothing. If I were to choose between taking the lead role of a Uwe Boll (director of several films consider to be the worst ever made) movie or a one minute background character in a Jorge Ameer movie. Call up Uwe Boll because at least I’ll have some dignity putting that on my resume. Sure Boll films are consider trash, but it’s not Jorge Ameer trash which is significantly better.
Back on track, nothing is ever given much of an explanation. There is also very little story in the film despite being two hours. If you were to trim the fat of this film you would have thirty minute of story material. The fat has no subplot, void of any meaningful characterization, padding shots of Dawson walking around Santorini for minutes, montage of Dawson looking at the sunset, and scenes devoid of acting and story value. The final character in the film worth talking about is D’Agostino. Through out the film he does not learn to act like a human always being held on a dog leash. He’s treated like…um…well…a slave. I would say a mistreated pet, but Dawson has no problem whipping D’Agostino with a belt whenever he misbehaves. No matter how small D’Agostino action are. I could look past the fact that not a single person noticed a naked grown man with a dog leash wondering around in public, and forgive the fact the actor playing the character is very awkward in the role. Where I draw the line is the complete one-eighty in the final act.
D’Agostino has only learned one word near the end of the movie, and with around ten minute left how do you end a film that presented no conflict to begin with or develop any issues challenging the protagonist beliefs. By making D’Agostino look at purple electricity and suddenly knows how to be human. Apparently purple electricity gives him money, the ability to buy a ticket from Santorini to the United States, the skills to kill a person, knowledge on how to bring a corpse back to Santorini without airport security discovering it, and cook all in a couple of hours. I’ll buy the fact D’Agostino could apparently make a trip from Santorini to the United State at night, somehow know where Allan Dawson wife is despite never seeing her, and return before morning, but why did purple electricity give him the knowledge to all of that.
On the technical side it has all of Jorge Ameer staples. One of those staple includes terrible editing. There is a moment where actor Keith Roenke has to walk from one side of a small room to the door. That basic action doesn’t require a cut, but in an Ameer film Roenke goes from one end of the room, skips the middle, and is at the door with the same medium shot. That’s incompetent editing when you can’t make the simple action of walking flow properly. Jorge Ameer is also in the film and his acting is terrible. His lines are clearly dubbed which is welcome since at least now you can hear every word of bad dialogue this time around. Though that should be expected of any filmmaker to make sure what the actor are saying be easy to hear. Not be an exception to a man who can’t do one thing correctly yet tries his hands at writing, directing, producing, and acting. Ameer role in the movie is superficial. He appears on camera and goes away like a mythical creature contributing nothing to the film. He’s also terrible as a visual storyteller. Forty seven minute in Jorge Ameer display an unwelcome sight. Now I have to problem seeing genitalia on screen regardless of gender, but Ameer I don’t want a close up of male genitals when the person is urinating. It contribute nothing to your film.
This film made me physically sick. I’ll repeat that, D’Agostino made me physically sick. “Nekromantik” which has a scene involving a couple having sex with a corpse did not, at any point make me physically sick. It’s the same movie that shows a rabbit being skinned and gutted. It is repeatedly shown and that didn’t make me physically sick. “Jungle Holocaust” has a prolonged sequence of an actual Alligator getting skinned and eviscerated while alive did not make me physically sick. D’Agostino which has nothing as vile as the two films I mention made me physically sick. That’s quite a new low given the sort of content I’ve seen in certain films in particular those in the Cannibal genre.
What sickens me about the film is director/writer/actor/cinematic Devil was inspired by his relationship with his cat. There’s a special feature dedicated to the lost of Ameer cat (whose final moments are shared in every DVD copy to further add to your depression of regretting your purchase) to which I say I’m sorry for your lost Ameer. However, that lone special feature showed me a more cohesive story, an actual heart, and better editing than the actual film that you were inspired to make from his death. With the source of the inspiration made clear why the fffffffff is there a montage of Allan getting blow jobs from his so called human pet. You have one very, very, very, sick mind Ameer. What exactly was the thought process behind including that montage in the film. If it was inspired by your cat I would rather not know what you did with your cat. Also what statement Ameer were you trying to make? The “twist” in the story is Allan human pet killing his maybe wife, cooking her, and upon discovering this Allan Dawson sits down to eat her. Did something similar happen to you which is why you’re dedicating the to your cat? If so, why did you eat your wife and had no problem with it. Ameer, whatever statement you were trying to say comes across negatively. I didn’t think you could sink lower after inserting Holocaust footage in a romance film, but the fact that you made a film possibly inspired by bestiality, and not tackle that issue is an insult.
D’Agostino is a Jorge Ameer film plain and simple. Everything you need to know is all their by name value. Jorge Ameer is not known for nonexistent story, questionable content, incompetent editing in the simplest of areas, padding his movies to no shame, and his desire to work in multiple area as a filmmakers unable to successfully pull off any them. Jorge Ameer is the definition of a bad director, but also filmmaking in general failing to do the most basic of tasks successfully. His whole resume is a testament to horrible and clueless filmmaking.
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