CrawlerChunky
In truth, there is barely enough story here to make a film.
Hadrina
The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful
Haven Kaycee
It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film
Nicolette C
First of all, this film has a 100% rating on Rotten Tomatoes which is basically unheard of and should tell you something. Also, if you read any of my reviews I live for indie horror films and I can be brutal in reviewing them but when I love something I get really excited. This is a movie to get excited about. Gaby Hoffman is so terrific and real and raw and crazy you can't take your eyes off of her. Is it like Rosemary's Baby? Sure, yes, but it's also different. And let's face it, every story is just a retelling of a story that came before it, and that's that. Nothing can be original anymore. But if they had done this film wrong, that would have been a shame. Instead this movie is wholly satisfying and entertaining.
Leofwine_draca
LYLE is a well shot time waster seemingly filmed on a micro budget in a single apartment in New York. The story is about a woman traumatised by the accidental death of her child, a trauma which leads her to become paranoid and withdrawn, convinced that her neighbours are out to get her. When she falls pregnant, events begin to spiral out of control.If this all sounds a bit like ROSEMARY'S BABY then that's because it is very much a copy of the Polanski film, however it's a weak imitation at best. This is an indie film with nothing in the way of production values and no incident in the plot either. The main actress is pretty effective but that's not really enough to hold the viewer's attention for an hour or so. The realistic filming style is pretty decent and adds a level of dull realism to the production, but the cop out ending reinforces the impression that this is a waste of time.
MrGKB
...that's not enough to necessarily prompt a recommendation, if that makes any sense. Gaby "Field of Dreams" Hoffman, portrays her protagonist role with reasonable credibility, but truthfully she's still a pale shadow compared to obvious predecessors like Mia "Rosemary's Baby" Farrow and Lee "The Omen" Remick. The rest of the cast doesn't register terribly well, either, and I'll not comment further about that on the basis of discretion being the better part of criticism.No, as is almost always the case, "Lyle"'s problems boil down to the script, in this instance by its tyro director. The plot is little more than a secularized retelling of the above-mentioned films cloaked in a meaningless lesbian domesticity, involving characters so sparsely sketched as to be virtual ciphers, mere placeholders. In short, there's little to make us care about them, to draw us into Leah's increasingly paranoiac situation. We've seen all this before, and "Lyle" offers nothing new to entertain us, or frighten us, or illuminate us in any way. An extra twenty minutes of backstory and/or character development might have helped; I really don't know. Conversely, twenty minutes trimmed might have produced a tighter, tauter story with some genuine tension, tension that "Lyle" lacks almost completely.I have to look at this one as a vanity project, a learning exercise that never really shook off its developmental shackles and fully breathed, a premature birth, perhaps, in service to some greater, yet frustratingly ambiguous goal.Unless you're a fan of one of the actors or the production crew, "Lyle" is regrettably dispensable.
Charlie Barrass-Evans
When a movie is offered free (and legally) online to stream, and is only an hour in length, it is usually worth a stab. I had previously seen the trailer, which was well put together and struck enough curiosity within me to jot down the date upon which it would become accessible online.So, what is it about? In short, this movie is about grief, and the effects that traumatic events can have on the mind. It begins with our main character Leah (Gaby Hoffman) and her girlfriend June (Ingrid Jungermann) being shown around an impressive New York apartment, with which they are clearly pleased. They have with them a toddler, and the witting building manager Karen (Rebecca Street) guesses that Leah is pregnant with another, a feat that Karen herself is openly trying to achieve.Leah and June seem happy with their new life in New York. June is busy at work and on the road to success, whilst Leah is at home with the toddler unpacking their lives into their new home. There is, however, an event that turns their lives around. Although it is openly available on the short Synopsis, I will refrain from mentioning the details. This event is portrayed in a very clever way, again which i refuse to disclose (although I will say that it is a very original idea, utilising modern communication methods).With this traumatic event, we see Leah's mind begin to unravel. She becomes suspicious of those around her, notably the building manager, and her paranoia gradually escalates into a final scene that is very well composed.However, despite the film's unusually short length, there are periods in which one wonders in which direction the film is going. This is countered, it should be noted, by a good score which retains the film's eeriness throughout these moments in which the film seems to be petering along without purpose. Another essential distraction from this flaw in the narrative is the acting of Hoffman, who at times seems very accomplished indeed. There are moments when she perhaps gets carried away with the high-emotion scenes, but nonetheless her performance is a mile apart from most of her supporting cast (notably poor are Michael Che and Kim Allen, who play a friend of the couple and a neighbour, respectively, and fail to really portray emotion at any time during the film. This is particularly so in Che's case, in the final scenes of the film).All in all, Lyle is an optimistic venture into the grief of the human mind, ultimately let down by its lack of direction and poor supporting acting. An interesting point for debate is whether writer/director Stewart Thorndike could have added ten or twenty more pages of screenplay, to try and flesh out some of the ideas throughout the movie which do not enjoy the focus that they deserve. Nonetheless, it was an adventurous film, and it hits home just well enough to make the viewer keep an eye on whether his new film will reach its Kickstarter target.
