Michael Matteo Rossi, serving as director and writer of what some list as a antidote to the Fifty Shades, and many in horror figure the theme would switch over to the exploitation market, sadly that has yet to occur, however, this thriller tries forcing the envelope of emotional horrors against feminism and political correctness assertion of emasculating men. Rossi’s basis his story on the concept of “inspired of true events” a tiresome tool, which results in a mix bag of feelings from viewers, because of the lack of knowledge makes one wonder just how much of the story comes from inspirational aspects of the actual events.
The primary story involves Trevor and Harrison, two men with different agendas at first, though Trevor definitely contains a more alpha-dog mentality, and yet an outrageous ego, that he appears completely narrowly minded of his surroundings, or that he just doesn’t care, but defeats the intent of him as supreme idol. While Harrison an average man, who obtains a formal letter his then girlfriend ending the relationship, this though admits as clunky way in the script for these two men to meet, as ideally a breakup normally either occurs in person, through an email, or worse in a text message. Fast-forward three years, and Harrison (Jonathan Bennett) has completely fallen in with Trevor’s perverse thinking concern the role of the man in a relationship and the inferior wants and desires of women. Jon Briddell who portrays Trevor does a very effect performance with his smugness and arrogance with everyone beneath as he plays pseudo-psychological games achieving his narcissistic desires. The majority of the film takes place in one location a large fairly empty room with a power-point presentation, and three men, as Trevor spouses his rhetoric and his girlfriend and suggests his property a play on the BDSM terminology but from the actual principal. Rather than enticing these men to pay for rewards of sexual conquest, his methodically is quite counterproductive and physically intimidating for anyone cares what Trevor sells. A truly confusing moment in the storyline and makes for tough effort to continue, but this film’s core audience, men, will undoubtably follow through, this stumbling block. Cheryl (Alia Raelynn) Trevor’s girlfriend earns her screen in some of the most unbecoming scenes, such as passed around to serve sexually one the men, hence Trevor justifying his position. However, Cheryl’s submission, more squarely focuses on her choice, and many critics criticize it was unbelievable, but unsure why, she has the choice, who she wants, and that swirls around the dynamics of master and submissive relationship more than a man who forces his desires unto others. Raelynn, never meekly accept, her character has resolve and strength to battle egomaniac of Trevor’s lunacy.
Aside from this quorum another plot plays out, involving Harrison’s new girlfriend, April (portrayed exquisitely by Danielle Lozeau) an innocent not worldly but heavily entrenched in both wealth and Catholicism, primarily no premarital sex, and Harrison portrays a wolf in sheep’s clothing and convincingly pulls the wool over her face. In addition, her role brings a weak sympathy from the audience, not due the actress’ capabilities the script and the direction on the screen, alluding to a limited character development prior to film, giving no motivation for one to care of her thoughts and implications of her values. However, behind these scenes hints to deeper clandestine elements masking hidden agendas of Trevor spreading outwards, which likely is exposed in a potential sequel. Sadly, this movie really pushes the envelope, stretching the center point of submissive, herein a moment to reflect with religion of the woman having repressed behaviors and submission to the man, as the head of family in all regards.
If one tries to connect a link to Fifty Shades of Grey to this movie, a hard press dead end befalls them, with very few comparisons, the actions and body language of the character Trevor tend to mirror Christian Grey, however that is all, the mentality varies greatly. Herein the film never truly includes a woman’s desires and lusts, rather treating her beneath the status of property, more as a piece of meat, and no different to that of torture porn, minus the gore. The endless repeated rhetoric drowns itself out early becoming in fact deafening silence, as the actions on the screen never match up, except in one cut away shot involving part of the honeymoon. The movie poster misleads greatly, and yet lighting and camera work appears spot on, but the overall production runs at 77-minutes, showing the director’s inexperience, when dealing with a powerful subject material.
The story and concept have moments of brilliance, with and intelligent and well shot film, no issues of technical aspects, however, not equally true for creating an empowering film of masculinity in an age of overexposure to political correctness, and dissecting feminism in an exploitation acceptable film. Misogynist earns a reputable release from Midnight Releasing, and conjuring an interesting cross mix of viewers from teenage boys to those that seek movies in the vein of sexual suggestive thrillers.