John Murlowski
dans le rôle de Director
The thriller film Rear View Mirror, starring Kayla Fields, Mike Markoff, Betsy Stewart, etc., directed by John Murlowski, was released on January 1, 2023 in États-Unis. It tells the story of Une jeune mère tente d'échapper à son mari violent et dominateur et de commencer une nouvelle vie dans une ville de plage idyllique et paisible. This is a Thriller film with a runtime of 87 minutes and its worldwide box office is not listed in the available detail data. It has received a rating of 4.7/10 from 221 viewers.
John Murlowski
dans le rôle de Director
Kayla Fields
dans le rôle de Jessica Howard
Mike Markoff
dans le rôle de Peter Howard
Betsy Stewart
dans le rôle de Rachel
Sam Schweikert
dans le rôle de Cory
Seth Adam Braverman
dans le rôle de Noah Howard
Ian Michaels
dans le rôle de Matt
Anne Patterson
dans le rôle de Toni
Olivia Buckle
dans le rôle de Yari
Perry Laylon Ojeda
dans le rôle de Peter Fine
Conner Piers
dans le rôle de Andrew
Kristina Goldberg
dans le rôle de Esme
Tanner Hake
dans le rôle de Stranger
Eric Crain
dans le rôle de Cop #2
Stephen Laughton
dans le rôle de Writer
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127A Smithfield Road, Frederiksted, Virgin Islands
Castle Rock Entertainment
21 victoires et 43 nominations au total
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Jessica and her son, Noah, flee from abusive husband, Peter Howard, who is a tech millionaire. They end up moving to an island where her sister, Rachel, lives in California and starting over fresh. Unfortunately, Peter is never going to let her go and vows to find her and their son wherever they run to! As they get situated, some new people on the island enter their lives. Jessica is a teacher and is constantly on her guard when she wakes up constantly in the middle of the night because she thinks Peter has finally found her. Is it just her imagination or is she right??? You will have to tune in for the answer! The acting was pretty good and there was a plot twist at the end. Worth a watch!!!
"Rear View Mirror"/"Hiding From My Husband" Waste of time with rehashed plotlines, dialogue, and two unsurprising twists at the end - (I suspected Jessica's sister all along as being nefarious and untrustworthy) - and the usual absurd LMN plotholes. BUT I only created this review to state how continually struck I was by Kayla Fields' strong resemblance to TV actress legend Mary Tyler Moore. I'm not saying she's her twin, but she could believably play the daughter MTM never had. Her facial features - especially eyes and mouth - are so similar to MTM's that Fields could play MTM herself in a bio flick, which I'd love to see. Grade D / 2 out of 10.
Seriously, what was this ending? The movie started out good, I love an abused wife trope when she gets away and has to fight the husband. So, we were all good there! Despite there being some questionable plot things here and there I actually enjoyed this movie quite a bit. The beginning was especially good. And then the end happened. WHAT WAS THAT?? Why was there a plot twist in the last five minutes of the movie that made absolutely no sense? I mean seriously, it would have made more sense for the sister to be working with the husband to get the money than the insane crap they came up with. Good ole lifetime though. Gotta love the insanely bad ones. And this was it down to the cheesy, horrible happy ending. Lmfao.
"Hiding From My Husband" (aka, "Rear View Mirror") is a film with an ending that may only be described as "over the top" both literally and figuratively. At the start of the film, Jessica ("Jess") Howard is living in abject fear of her abusive husband Peter. Jess is successful in leaving home with some cash and her young son Noah, fleeing from San Francisco to Catalina Island. Through the assistance of her sister Rachel, Jess locates a beach home and works as a substitute teacher at the local high school. She also links up with a nice colleague named Matt. But she remains emotionally distraught and lives with the feeling that Peter may locate her at any time. The sister diagnoses Jess with PTSD. Nearly all of the film was approached earnestly as a case study of domestic abuse. Which makes the film's bizarre ending all the more perplexing. The "over the top" effect occurs when Peter finally returns and charges like a raging bull at Jess. The problem is that they are on top of a cliff, and Jess dodges him like a matador. For Jess and the father of her child, this was a real cliffhanger! And what are we to make of the curious line when Rachel addresses her sister as follows: "If it's not about Jordan, you don't care." For the entire film, Rachel addressed her sister as "Jess." But by referring to her with the name "Jordan," it sounded as if Rachel was now a character in a different film. This was a decent, serious film until the weird ending. Then, things imploded, and everything went just over the top.
Why is it so hard to get a decent movie on Lifetime? This is a movie like Enough with Jennifer Lopez and that's not saying much but this isn't even as good as that. It is a below tier, below tier movie. Not a B movie more like a C or D movie. I used to love watching Lifetime movies. They used to have movies covering stories that were ripped from the headlines and they even had a few noteworthy actors play parts in them. These days it's just all a lot of really bad acting in really crappy movies. There's no real suspense or even a reason to be interested in the characters. They are literally movies that you just turn on in the background and not pay any attention to them. It's sad. I wish they'd bring back something worth watching.
Bon film !
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Les comédies sont conçues pour divertir par l'humour. Les formats populaires incluent la comédie de situation, l'humour à sketches, la comédie au travail et la comédie romantique.
Les œuvres d'action mettent l'accent sur l'excitation, le conflit physique, les personnages héroïques et une narration rythmée. Les œuvres d'aventure reposent souvent sur l'exploration, la survie ou des voyages épiques.
Les drames policiers suivent des enquêteurs, détectives, avocats ou journalistes qui résolvent des affaires criminelles. Les récits à mystère encouragent le public à découvrir des indices avec les personnages.
La science-fiction explore la technologie futuriste, les voyages spatiaux, l’intelligence artificielle, les réalités alternatives et les hypothèses scientifiques.
Le récit d'horreur crée le suspense par la tension psychologique, les événements surnaturels, les monstres ou les scénarios de survie.
Les récits romantiques se concentrent avant tout sur les relations, les trajectoires amoureuses et l'évolution émotionnelle des personnages.
L'animation rassemble des œuvres pour enfants, familles et adultes, allant du contenu éducatif aux récits dramatiques complexes.
Les récits romantiques se concentrent avant tout sur les relations, les trajectoires amoureuses et l'évolution émotionnelle des personnages.