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JUPITER LOVE
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Reviewed by: Jamey Hughton

Directed by: Michael Andre

Starring:
Nikka Kalashnikova
Michael Andre

Movie:  
star star star star
Extras:  
star star star star
Overall:  
star star star star
What's it about
A girl and a guy, known simply as “X” and “Y”, have a bizarre encounter while driving alongside each other on the Australian interstate. He films her. She laughs and laughs and eggs him on. Then they meet again. Eventually, he’s stalking her and ruthlessly chasing her down. Imagine this with an editing speed of about 40-50 cuts per minute for 80 minutes, and there’s JUPITER LOVE.
Is it good movie?
JUPITER LOVE is a hard movie to watch. Movies that are hard to watch are often worth watching because they are made with skill and tell a worthwhile story. A lot of work and toil has obviously gone into JUPITER LOVE, but I can’t recommend it. Described as a “road rage romance”, the film is quickly tiring, breaking from the main “plot” to let the characters drone on in nigh-incomprehensible monologues that don’t add much anything to the rest.

Let’s start with the technical side of things. The sheer number of cuts in the movie alone is impressive. You don’t often see an independent film that is edited so hyperactively. I was a little grateful to see my eyes were going to be kept busy. I was even more grateful that I don’t suffer from epileptic seizures, because the level of visual franticness in this film is dialed up to eleven. Sometimes, it creates the desired effect for the scene, but too often it proves to be a bit much. It doesn’t help that the only two actors, Michael Andre and Nikka Kalashnikova, are so over-the-top in their parts that it’s cringe-worthy at times. Andre, especially, spends most of the movie drooling and ranting like a cracked-out chimpanzee. It’s a manic performance, just like Kalashnikova’s. I know this was the intention, but enough already.

JUPITER LOVE is overheated and ludicrous in the extreme, but that’s the point I guess. Co-star Michael Andre directed the film, apparently intended as a meditation on male-female relations in the digital age and an “allegorical descent to the raw nerve of male sexual psychosis.” You can follow this subtext throughout the film, but there’s very little that’s tangible enough to make any kind of a point at all. For the most part, things are impenetrable and totally chaotic, which doesn’t make for an easy viewing experience. Andre is pretty smart about achieving a lot of the low-budget effects in the film. The high-speed road scenes are pulled off well thanks to a few simple editing tricks. Shots appear to be carefully storyboarded and some of the visuals are weird and beautiful. But this all gets quickly lost.
Video / Audio
Video 1.85:1 anamorphic widescreen

Audio 2.0 Stereo
The Extras
Audio Commentary with Director Michael Andre It’s actually pretty interesting to hear Andre talk about his intentions for the film and the themes at work. He's a good speaker and actually does help to illuminate what the hell is going on in the film.
Last Call
Totally out-there Aussie import with a mile-a-minute editing style. It's simply excessive. You might have a headache when it's all over.
ARROW IN THE HEAD'S RATING SYSTEM
star star star star I'D BUTCHER MY FAMILY TO SEE THIS AGAIN
star star star HANG ME BUT I DUG IT A LOT
star star AN OK WAY TO KILL TWO HOURS
star JUST SLING AN ARROW IN MY HEAD AND LET ME DIE IN PEACE

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