Frank & Lola

It’s poised between reality and paranoid daydream, it’s about the dangerous ways that love can go wrong, and it does the thing that noir was invented to do: It sucks you in.

Shannon’s performance is the main attraction of this dark character drama, but it also boasts a seductive atmosphere and some penetrating insights into the male psyche.

Frank and Lola is an electric modern noir that thrives from indelible characters and a palatable style.

Despite being played by two charismatic and more-than-capable actors, the title characters never click in the way they need to. They're too cool and vague for the volcanic story they enact.

Ross is to be commended for taking chances on his first outing. He delivers grown-up shivers with a strong cinematic sensibility. But however suspensefully the score groans and cries, the emotional stakes dwindle with each overemphatic narrative curve.

Frank & Lola is scattershot from the start, and never makes a compelling case for why its story is being told.

Michael Shannon is a convincing and resourceful actor who is now too established and viable to settle for enigmatic roles in meaningless, throwaway movies with zero possibilities for commercial success like a thing called Frank & Lola.

The directorial debut of Matthew Ross, Frank & Lola is an excellent debut film. While merely an above average film, the film often feels like the debut of a soon-to-be great filmmaker. Showing great intuition when it comes to storytelling and some very cool camera shots along the way, Ross shows that he knows how to direct a film. However, as with all debuts, Frank & Lola merely feels unpolished. If you look closely, you can still see the brush strokes on the canvas. Under the leadership of a more seasoned director, Frank & Lola could have been the best erotic noir thriller in a long time. Under the watch of Ross, however, it is merely a hint at what is to come. This is also the film where I learned that it is Imogen Poots not Imogen Potts. I have no idea why I thought that, but I have even tagged her as Imogen Potts on multiple reviews. A deeply sexual film, Frank & Lola's greatest tricks are the camera. There are numerous shots that are incredible and shows that Ross has a tremendous eye for visuals. One such shot is of Frank (Michael Shannon) following Alan (Michael Nyqvist) in Paris. Influenced by the films of Alfred Hitchcock, this voyeuristic sequence would certainly be at home in one of his films or one by Brian De Palma. This comparison becomes more apt when considering the voyeurism in the context of the film. Deeply jealous and obsessed, Frank is one half of the "rotten" relationship with Lola (Imogen Poots). Similar to De Palma or Hitchcock, Ross expends a lot of energy exploring Frank's jealousy and obsession. Though Lola gives him plenty of reason to be worried, Frank is deeply obsessed with her and her every move. Him telling her that when he wakes up, he thinks about her is hardly a sign of love. Rather, it is a sign that he is dangerously obsessed with her and could wind up hurting her. Throughout, Frank is shown to be a violent man as he attacks Alan and attacks a man who is beating a girl in a bar. In many ways, it could be argued this anger is facing inward as he fights those who act on his inclinations. He never hurts Lola, but certainly feels possessive and hates to see men who acts this way or who infringe upon his ownership of Lola and her body. This obsession is certainly a theme of Hitchcock and De Palma's work, as is voyeurism, showing that Ross is certainly influenced by both. Though I am hardly calling him the new incarnation of those two, he certainly has the potential and is willing to indulge in similar themes. Ross also shows an inclination towards mirror shots, which I am always a big fan of. The best one coming at the very end after Frank goes to the kitchen and returns to where Lola is sitting, except she is gone. As he walks to the bar, the camera is standing outside a doorway looking into the room. Adjacent to the door is a mirror where you can see Frank. Next to that, along the door frame, is another mirror where Lola can be seen. The focus then racks to highlight Lola's forlorn look, certainly hinting that things are likely over between her and Frank. This shot is truly incredible and shows that visual skill possessed by Ross. However, as mentioned before, the film is certainly unpolished. Though visually stylish, the story is pretty scattershot. The themes are good, but the film's plot is unfocused and jumps freely between Las Vegas and Paris. Much of the plot merely feels like an exercise in camera movement and utilizing various lighting and color schemes. While very pretty to look at, the plot is incredibly disposable and hardly engaging. The characters are pretty one-note and, while the themes are interesting, the characters are not terribly well-written. Poots' character is mostly just crazy and Shannon's just broods and tries to control Lola. While the acting is very good here, especially by Shannon, the plot and characters are incredibly underwritten. This leaves the film feeling quite hollow. It does not strike a balance between being stylish over substance as even the most stylish films have great substance via plot and characters, even if minimalist. Frank & Lola's plot is not minimalist, it is non-existent. The directorial debut of Matthew Ross, Frank & Lola shows that Ross is a man to keep an eye on. Many great directors have an unpolished debut and, personally, I believe this to be Ross's. With terrific camera work via mirrors and voyeurism and themes of obsession, Ross takes a lot of cues from Hitchcock and De Palma in this film. While it is certainly a high bar to achieve, it is clear that he has great potential and I am eagerly anticipating his next work.

Full of mysteries, twist and turns! This was Michael Shannon's show as Frank, but the plot developed mysteries surrounded by character Lola that played by Imogen Poots. Basically the entire film is about these two and after the halfway mark, another character joins them to add more suspense. Well, it was the story of a decently succeeded chef and his new girlfriend. Their relationship strengthens in a short period of time. They think they know each other enough, but one day a new secret revealed from Lola's past. That's the beginning of everything in this film, following many turns in the narration, the story reaches its end. The major issue was too much suspense. The writing should have been simplified. So not everybody easily understands the film or the purposes of film scenes/events. But it is more revenge based than psychological thriller-drama. That does not mean you can rule out everything else possibilities. Lola is the key and till the final scene she frequently diverts the story developments to give a new perspective on where the film is heading. So definitely not predictable film, particularly not the conclusion. This is exclusively for neo-noir fans. But for others it is one time watchable film. 5/10