I've been a Michael Pare' fan since he was in The Greatest American Hero starting back in 1981. I also enjoy Indie movies. Most times I enjoy Indie movies more than the big budget flicks. I also like northern European television shows and movies. This seemed to be a low-key, big time, gritty northern European-style flick. I thought it had great possibilities and looked forward to watching it.About twenty minutes into it, I thought, "Well, it's started kind of slow but will probably pick up a bit." No, it did NOT pick up. As I watched it, I soon realized that his would be more effective torture than waterboarding. I kept watching it and I just wanted to make it stop. But, I couldn't. I had to see it through to the end. I thought that maybe I had missed something along the way so I'd rewind it here and there. It didn't help. It only prolonged the agony.It just droned on and on and in so many places there was no explanation for the events. It was disjointed, it was slower than pond water and it really possesses no endearing qualities. Sometimes, like with "Napoleon Dynamite", I'll maybe not get the premise of the movie so I might watch it again and find that the second time, I actually liked the movie. There is no way in hell that I'll watch this movie again. I could not wait for it to end. I wanted to quit watching so many times but I kept hoping some of the events in the movie would be explained. Didn't happen. Someone said that this was a "Christian" movie. Well, if so, then Christian movies are boring as hell. This is not an "in-depth character study." It's the experience of drowning and waiting... and waiting... and waiting for the end to come.The end, much like my first marriage, couldn't come quick enough.Rarely will I give a movie simply one star. I tend to see the good in movies, if nothing else, if I can understand the time and acting investment in a movie and appreciate it for that, even if it doesn't gel.I couldn't do that with this movie. I can see nothing in it. Nothing at all. I want that 76 minutes of my life back... Really I want 228 minutes of my life back because I feel that that movie was three times as long as it actually was.

*Potential Spoilers*The Shelter is the feature directing debut from John Fallon and stars Michael Paré of Eddie and the Cruisers fame. It tells the story of a troubled homeless vagrant named Thomas Jacob (Paré), who while wandering the streets of the city drinking alcohol one night, finds shelter in a beautiful empty house. Believing he has struck gold, he finds food, booze, television, and a nice a place to sleep for the night. But something else, something potentially supernatural (or is it religious?) is at work here, forcing Thomas to confront his inner demons in said house. This is a very low budget feature and it shows. Some of the acting is a little on the amateur side and some of the cinematography is a little on the cheap side, emphasis on some. The story is slightly confusing and the film is definitely a slow burn with an artsy slant- so if that's not your scene, you may not dig this film at all. And, to be frank, the opening sex scene initially made me chuckle and the ending did not do it for me for the most part... however credit must be given where it's due: Paré, pro that he is, turns in a genuinely excellent performance here, he was absolutely on point, same with the actress who played his wife (that "are you cheating on me?" scene, damn!). The film has plenty of atmosphere to burn and director John should be given credit for that, some nice mood lighting and shots, there were times I felt lost in the atmosphere which is a big plus. The plot direction was interesting as Thomas was a well developed character, and there were some great scenes spread through, my favorite being the fall from the window, into the water shot; very nice transition. Though the plot eventually didn't end on the right note IMO, and some of the low budget seeped through into the film (whether via acting, some of the VFX, etc.), at the end, I can still say the film showcases major potential for the director. Can't say I loved it, it was inconsistent to be fair... but it has something memorable to it, and as mentioned Paré carries the film well. It also has a short run time at 75 minutes, so it was a painless watch. Overall, you take pleasures where you can get them, and The Shelter has a few to offer. The director has a promising future ahead, and here's hoping Paré shows up in his next film as he was great. *PROS: Some excellent shots, moody atmosphere, interesting lead character, Michael Paré was terrific* CONS: Some awkwardly filmed scenes, a few of the other actors were not so great, disappointing ending, some clumsy dialogue mixed with awesome dialogue* OVERALL 6/10

I will admit I had to watch "The Shelter" twice because the first time, I wasn't that interested--at first. As the movie progressed, I began thinking that it sure was nice to watch a horror film that wasn't so clichéd, so trite, so hackneyed, and so predictable. As it came to its ending, I knew I needed to watch again and this time pay attention.The movie opens and we are introduced to Thomas, superbly played by Michael Pare. He is a womanizing, booze-guzzling, canker sore on the backside of humanity. I've known many like him in my life, but I digress. Thomas is also homeless. It seems he has lost his wife and child (for reasons that will be later revealed). He happens upon this very sterile empty building--complete with all the bells and whistles anyone could ask for--and decides to hole up there. Big mistake. You see, try as he might, Thomas cannot escape from this "shelter." I won't reveal any more of the plot because I don't want to ruin this for anyone.The cinematography, art direction, and (regular) direction here are top-notch. The movie has a definite creepy look to it and this is definitely more character driven. Nobody is hiding with an ax, machete, big knife, pitchfork, drill, or chainsaw. This is one total mind- **ck. Rated "R" for adult situations, violence, and language, check out "The Shelter."

Please join me as I wrestle with an existential crisis, religious symbolism, Michael Paré and a rotisserie chicken:The Shelter is the debut feature of writer, producer, actor and director John Fallon. It is a psychological and spiritual drama with a brooding horror underneath for good measure. I would say it is the kind of film that explores the kind of themes that would only get made independently, and I say that as a huge compliment. It is one of the many reasons I am glad, as a website owner and movie reviewer, I get to see independent films: for the ideas.It stars Michael Paré who has been garnering an incredible amount of praise for his performance, and rightfully so. It is the sort of soulful, captivating, varied and powerful performance that not only breathes every squeak of life into the script and the premise but also keeps an audience glued to their seat, unable to look away. Good thing too because Paréis on screen the whole time and, for most of it, he's alone.The story of revolves around Paré as Thomas Jacob. He's a drinking, smoking and screwing, down on his luck hobo with twin bags of guilt and self-loathing. Showing up in an unnamed town he drifts from place to place as we slowly learn scraps of his tragic back story. Finally he winds up at an abandoned, new, white, sterile, eerie town house. Once he enters, he is unable to leave and suffers a long a night of soul challenging haunting, visions and dreams. While a little slow and definitely, frustratingly cryptic in places, the movie excels through the lead performance, the direction, the cinematography and the score. Its lush, crisp photography (by Bobby Holbrook), that makes strong use of light and iconography, and Fallon's keen eye for an interesting angle or a curious piece of intriguing symbolism, lends the whole film a rich, disturbing atmosphere.The colour scheme is particularly effective and different. While some scenes feel realistic, others are photographed in cold blues, odd greens and moody oranges. Such thought and attention has been paid to the overall look of the film, which is wonderful because so many low budget productions forget to do so.Keen attention has also, clearly, been placed on which film stock and even which film speed to use, especially during the fantasy segments. There are some very striking and beautiful images contained within the film and the production should be applauded for their cinematic achievements. Although kept to a pleasing minimum, the use of CGI is highly effective also.The score by Shawn Knippelberg is a discordant, moody and different delight! It's never intrusive and always on point, helping and, sometimes, creating the atmosphere of the film. It perfectly accompanies the drama or the delirium as a good score should do. You never quite know where it's coming from, what you're hearing or even what it's being played on and this adds to your sense of unease.Also, the juxtaposition of the re-occurring folk song is perfectly jarring and a confident stroke that could so easily fail and yet here succeeds beautifully.A mention here, too, for the small supporting cast. As I said earlier, most of the film is a one- hander with Paré, who is excellent and not to be missed, but in the few key scenes where he is interacting with, mostly, the women in his life they are all very strong performers and distinguish themselves well. Over all the creative and talented successes in this film far outweigh its weaknesses which, for me, came down to the pacing in some places and the ambiguity of the final act. Maybe I have grown jaded on a steady diet of easily explainable and satisfactorily wrapped up Hollywood fare or maybe I don't remember the religious texts that were drilled into me back in school but I did feel that some of the film's intention and meaning was lost on me.Maybe that was the point. The film is definitely open to interpretation. That is, also, let's be fair, utterly refreshing when compared to other, tried-and-tested, cookie cutter movies. When was the last time you were left asking questions or thinking about what it all means?In my mind the film is dealing with themes and mostly ideas, emotions and experiences that people keep inside, hidden, gnawing away at them, picking at the thread of their subconscious. It tries its best to visualise and manifest feelings of self pity, self doubt, loss, guilt, anger, regret and everything else our, de facto, hero is carrying around with him. Its with this task that I think the film definitely succeeds. It's the religious underpinnings and possible message that maybe was lost to me but this also means the film will hold up, for me, to repeat viewings and finding new things each time. In the end though, having a satisfactory conclusion or all of your questions answered is not what it's about. It's clearly a very personal, intelligent work of art by an emerging, talented filmmaker and an aging character actor showing he has depth and range with challenging material.Everyone will take something different from and everyone will find something they think is enjoyable, intriguing, beautiful and/or sinister. Whatever aspect of the piece grabs you then I guarantee it'll be with you a while. I know, for me, the photography, the atmosphere and some of the images will take a long while to shake off.