UPSIDE DOWN (Theatrical Release USA 2013)

Ben Meyers’ rating: 3.5|5.0 Stars ììì

Upside Down—
imaginatively interesting imagery—when examined within the realms of Kabbalistic thought provides a rich treasury of visual images of the very good results of interfacing heaven with earth. If critiqued without that 'knowing' and on its face value alone, the movie resorts to teen-level romance involvement to tell another trite story of the haves versus the have nots with an implausible Cinderella story that doesn’t appeal to an adult mindset, but may provide entertainment for the severely bored, pre-puberty crowd.

Film Poster Courtesy of Wikipedia 


Financially deprived Adam Kirk (Jim Sturgess) falls in love with privileged Eden (Kirsten Dunst) and imprudently pursues her affection without regard to consequences. After nearly killing her due to his persistent flaunting of her world’s rules, he again pursues her in a selfish, almost infantile fashion and consistently endangers both their lives and professional careers. Eden, as mindless as Adam, actually encourages the romance. The day is saved by engineer Bob Boruchowitz (Timothy Spall) with his expansion on a face cream invention, originally given to him by Adam Kirk, that allows safe ways for the two worlds to interface. 

Additional Thanks

Good Work for Director Juan Solanas. Thank you to Executive Producers Phil Hope and James W. Skotchdopole for making the film possible. Additional characters/cast include: Albert (Blu Mankuma), Pablo (Nicholas Rose), Lagavullan (James Kidnie), Mr. Hunt (Vlasta Vrana), and Becky (Kate Trotter).

Buy a ticket? Yes? No? Maybe?

Yes. If one does a little research into Kabbalism, the story's rich metaphor, becomes readily apparent with deeper meaning hidden between the lines. If analyzed on what one sees, the movie definitely works as a flick made for the junior high school teen ‘hot to get the girl without regard to consequences’ appetite. Its portrayal at this level of thinking is faintly reminiscent of the mindless beach party movies of the 1960s, sans the comedy.

Video Critique Available Here:

Ben Meyers

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