Sublime (2007) is a English movie. Tony Krantz has directed this movie. Tom Cavanagh,Kathleen York,Lawrence Hilton-Jacobs,Kat Coiro are the starring of this movie. It was released in 2007. Sublime (2007) is considered one of the best Drama,Horror,Mystery,Thriller movie in India and around the world.
On the day after his fortieth birthday, the family man and computer analyst George Grieves goes to the Mt. Abaddon Hospital for a routine colonoscopy with Dr. Sharazi. At his birthday party, his friends and family tild many cases of medical errors, and George is worried. After the surgery, George finds that his surgery had complications because of a homonymous patient, and he had received a thoracoscopic sympathectomy instead. While interned, George discloses bizarre and dark secrets about the East Wing of the hospital while his wife and family have to make a decision about his fate.
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Due to the the intensity of the discussion - the extreme nature of the comments on this board, I thought I'd throw this in, for what it's worth: SUBLIME was an experiment on nearly every level. Raw Feed is a Warner Bros. experiment to make "horror" films within the broadest definition of the genre. Films designed to be released directly to DVD. John Shiban, Tony Krantz and Daniel Myrick would each make a film in 15 days for a budget of roughly 1.5 million dollars. Any one of them essentially could do whatever they waned to do - to play into the genre, to satirize it, to bend it. Mr. Krantz's notion was to take the present atmosphere of fear and doubt that has pervaded our world; the very real statistics about "health care"; and the horror of the Terry Schiavo case, and make a movie. My involvement in the film came out of my close friendship with Tony. Inspired by an Ambrose Bierce short story "An Occurrence at Owl Creek Bridge"...the mystery of coma consciousness...the idea that when you close your eyes, your visual experience is limited to what you can remember...we crafted the script. *******SPOILERS******* Trying to capture our version of a fear-and-incident-inspired "coma consciousness" led to the film's intentionally languorous and lurid pace. It was a specific choice. Right or wrong, we were determined to stay true to George's vision: George is stuck in a 10-plus year-long persistent vegetative state within which he is encountering all the things he worries about manifest. His only respite is when he closes his eyes and remembers his "last supper" - and many of his coma-realities are inspired by incidental details experienced that night: Is Jenny actually unhappy in spite of what he wants to believe by "looking into her eyes"? Is she going to leave him? Will his colonoscopy go wrong? Is his daughter experimenting with her sexual identity? Why is his son so fascinated by fear and evil? Is his partner going to stab him in the back? And what about the Unknown? The utterly unaddressed racism, abuse of minorities, and fundamentalist Islamic-terror that we've all been taught to fear? George is a version of a successful Everyman who worries about a lot without choosing to examine much. He thinks it's enough to look in someone's eyes to know their truth. Well, clearly, it isn't. And what happens when you lose complete control of your destiny and are stuck in a world of fear-made manifest? Well, if your guardian angel happens to be a demon manifestation of the "dark unknown" who will guide you through a confrontation with your fears...that journey might just free you to make a tough decision and take control of your destiny again. And that's what George does, tragically, at the end. As for the symbology of the film, it was governed by the myth-base of a white Anglo-Saxon Protestant - it's entirely Judeo-Christian. And we piled it on with a shovel. It's on the nose because it's familiar, learned pretty much during adolescence, and it's all that George knows. It was extremely satisfying to indulge in the lurid Grand Guignol tradition of this film. Commercially, it was risky, because we were straying from the current tradition of the horror genre. Shooting the film in 2:35, framing and pacing the story the way we did was utterly intentional. Could it stand to lose 10-15 minutes for the sake of modern day attention spans? Sure. Is its subject matter, approach and execution inappropriate for the "horror genre"? Maybe. Sublime is more in the tradition of psychological thriller/horror. The Twilight Zone, Alfred Hitchcock Presents, Angel Heart, Jacob's Ladder, Memento, Eyes Wide Shut. Sublime is not a pleasant movie. If it's an experiment that failed for some and succeeded for others, I'm glad. I'd much rather that the film inspired strong opinions - even dismissive ones - than just lie there like another derivative grade B grindhouse gore-fest. Everyone involved in Sublime took a chance...and we're all very proud that we did.
Back around 1980, when cable TV started its proliferation, it still had that anything goes feel that happens with something new. HBO was one of the first premium channels and along with the usual movies that filled out its limited on-air hours (it was not on 24 hours back then) the network often programmed what could be described as filler content especially on the weekends when it was on the air for somewhat longer stretches. Most of these films were forgettable movies like Ashanti" (boring and lifeless) and "Voyage of Tanai" (truly a WTF movie if there ever was one). But into this mix would sometimes appear movies that did spark interest and sometimes became hits because of their airing on cable. Two films that come to mind are "Over the Edge" (which made a big impact on the girls in my 8th grade class due to Matt Dillon) and "Homebodies", a truly oddball movie about senior citizens becoming homicidal when confronted with the prospect of being evicted from their homes. Both of these films were true finds and could have found life playing commercial stations as well but their presence on cable made their impacts more pronounced because of the lack of commercials and no editing. "Sublime" falls into this category. Apparently a straight-to-video release, it stars what could only be described as second tier TV actors (Tom Cavanagh, George Newbern) and directed by Tony Krantz who had no directorial credits to his name. Surprisingly, the movie plays extraordinarily well. It's suitably eerie, confusing (intentionally so) and most importantly, it makes you care about the main characters especially Cavanagh's George and Kathleen York's as George's wife, Jenny. I will admit that I did not "get" a lot of what is allegedly the films symbolism and frankly the point of the movie really didn't hit me (I kept rewinding it right before the end to hear what Jenny and George were talking about because it seemed to be related to what he does) but to me, it didn't really matter. "Sublime" is not a film that someone just threw together. It has a great atmosphere, is intelligent and thoughtful and is certainly not your run-in-the-mill enterprise.
It definitely kept my attention throughout. However, I was inspired to write this comment because of the cover art as opposed to the movie itself. Had I based my seeing the movie strictly off of the DVD artwork, I would've never watched it. Hell, I wouldn't have even picked it up to read the back of the box. (My initial reaction was that it was another in the "torture porn" realm.) The imagery is extremely misleading. It's nothing of the sort. My advice is to watch the trailer to get a better idea of the feel for this film. It's much more a slowly-paced reality-turned-on-its-ear type of film, if there is such a genre. Did I like it? Yep.
I initially got this movie not really expecting that great of a film; like most of you who've seen it I found it at at a video store. This movie isn't like a traditional horror movie; it doesn't rely on much blood and guts to build suspense. The whole movie is about a single man, and everything that happens to him after he goes in to what appears to be a routine operation. The movie itself is VERY slow, so for some people who haven't got the patience to watch the movie until its ending, and are expecting the more traditional hack and slash out of this horror movie, may be disappointed. The movie is full of metaphor, which is one of the things that I *really* liked about it. Nearly everything that happens is symbolic to the main character on at least one level. This will seem a bit much, but that's why I recommend you wait till the end of the movie to judge it. The best way I'd sum this movie up is: A common man, facing very horrible situations; by the end of the movie nearly all of his fears will be revealed... and in the end he must make the ultimate choice. Watch this movie, and keep in mind it moves slowly for a reason.
Let me start off by saying I'm an avid Horror fan. I enjoy horror movies ranging from the classics such as Texas Chainsaw Massacre, Henry Portrait of a Killer, and Susperia to lesser known B horror such as Deranged, to esoteric masterful ghost films such as Ugetsu. With having been such a fan of these types of films, I have to say the previous reviewer was totally off base with his harsh criticisms of Sublime. Sublime is an allegorical graphic horror film that takes it's inspiration from many sources. The previous reviewer mentions a parallel between this film and Jacob's Ladder, while this may be true, I feel that there's nothing wrong with this since many modern films do this to pay homage to classic films. There have been numerous times where I've watched a Quentin Tarantino film and have been amazed that they've copied a scene from Sonny Chiba movies, or from great films such as the Lady Snowblood series, almost verbatim. Yet he is praised for being an innovator (and I think he in in many regards, if not slightly overrated). Sublime is a discordant yet captivating whirlpool of many different inspirations and a truly great graphic horror film. If you're a fan of horror, political allegory, and cult cinema then you should find no faults in Sublime.