 |
|
|||||||||||||||||||||||||
 |
 |
 |
 |
 |
 |
 |
||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||
| “A fine,
stark, totally uncompromised drama.” Matt Zoller Seitz, NYPress “...a stunning array of drama and performances worthy of Eugene O’Neill. –With sobering patience and insight, Wizemann’s story examines the lives of characters rendered complex and all too human.” Fernando F. Croce, Cinequest “...the downbeat ensemble drama impresses with its gritty realism, low-key dramatic focus and honed performances. ...Mercifully, script refrains from spelling out the pathos already quite evident in the setting and the characters' faces. A few terse back stories emerge but, more often, dialogue is credibly focused on strained pleasantries, leaving tragedy easy to read. Performers, all retained from the original stage production, are uniformly excellent. Their absorbing turns and discreet direction keep the bleak tale from growing too uneventful or monotonous.” Dennis Harvey, Variety  “Losing
Ground makes its greatest connection in knowing us just as much
as we know these characters. It is fascinating filmmaking that gets to
the core of humanity, scrapes out even the most bottommost parts of it,
and holds it up to examine it.”Rory L. Aronsky, FILM THREAT “You think you already know its handful of losers in a place where time and life itself seems to have stopped. And maybe you do. But they get to you anyway in their unitalicized, cumulative way. Both mood piece and ensemble piece, the film is a sad exhalation of life -- or what passes for it -- among the rudderless…in measured, note-perfect performances.” Jay Carr, AM New York “–An arresting independent film about the human propensity for addiction. Losing Ground isn't a melodramatic anti-gambling screed. The film viscerally evokes the atmosphere of a circle of hell populated by people desperately willing themselves into blindness.” M. Faust, ArtVoice “Numerous narrative strands mysteriously and gracefully intertwine, trapping these compulsive, desperate characters in their tangled web. Losing Ground, with its muted but potently charged minimalism, has much to convey about the ways in which the economic and emotional uncertainties of a greed culture steeped in narcissistic myth and fantasy, cripple people's lives emotionally.” Prairie Miller, WBAI Arts Magazine “Losing
Ground, like its characters, is in no hurry to artificially define
where its headed. –There’s not a bad performance in the lot,
each fulfilling a sadness and a greater sense of danger that comes with
satisfying their craving. Cinematographer Mark Schwartzbard confines
the shadows like a trap to which these people and the audience have no
escape.”Erik Childress, eFilmCritic.com “…dialogue with a realistic sense of desperation…his characters seem trapped under microscope slides on the screen. What makes Losing Ground compelling is how Wizemann subtly transcends the clichés of the addiction film. It leads us down a familiar path, but its power is in the journey, not the destination. It is well worth seeing if given the chance.” Odie Henderson, Cinemaniac's Corner “... if hell is other people, its waiting room is other gamblers...a highly skilled cast...some talented folk who manage to raise desperate tedium to near-poeticism. Double-down on this one.” Chance Muehleck, NYTheatre.com (reviewed from the stage play) “Losing Ground is a perceptively-wrought piece that asks us to give it its brief time to unfold naturally, rewarding our patience with a telling portrait that never compromises its inherent bleakness... a group of well-directed and especially well-considered performances. ” Les Gutman, CurtainUp.com (reviewed from the stage play) |
 |
 |
 |
