So you've got a half-dozen attractive teenagers and the prospect of sex along with drugs and alcohol, and it's all happening in a very isolated area.  Not exactly a groundbreaking setup in terms of the horror flick, and Lane does seem like it's just going through the motions until the last 10 minutes.  Is that finale strong enough to make up for the rest of the picture?  Maybe, but Lane isn't going to save the sorry state of the genre.

Big Bang Love: Juvenile A:  It hurts me to say it, but Takashi Miike's latest is, at least so far, the most disappointing film I've seen at the festival.  I love Miike, and own a couple dozen of his movies, but Love reminded me of Dolls, another disappointment from another of my favorite Japanese directors (Takeshi Kitano).  Both films were more interested in style over substance, and both represented a departure for the corresponding filmmaker.

Love is a prison murder-mystery.  Just like a lame television crime procedural, it begins with what appears to be an open and shut case: An effeminate prisoner (Ryuhei Matsuda) is sitting on the corpse of a hardcore killing machine (Masanobu Ando).  The one interesting thing Miike and screenwriter Masa Nakamura do is making interrogations appear from the point-of-view of the audience (and some of the questions are funny, or at least translated in a very funny way).  But I cared less and less with every passing minute.

Lake of Fire:  The last time we've heard from Tony "Humpty Dumpty" Kaye, he was busy suing up a storm following the release of an Ed Norton-edited version of his American History X.  Turns out he's been busy making a mammoth documentary about the abortion issue, which was started way back before anybody had ever heard of Ed Norton.

Clocking in at just over two-and-a-half hours, Fire chronologically shows nearly every detail that has occurred between the 20th anniversary of Roe vs. Wade in 1993 right through present time (or at least just before 9/11, when the media found something else to whip us into a frenzy over).  It's filmed in black-and-white, and its interview subjects -- taken from both sides of the issue -- are conducted via extreme close-ups.  I'm sure it was Kaye's intention to make this picture without taking sides, but it plays a little pro-choice.  Or maybe it just seems that way because the pro-lifers are way more worked up and angry and tend to sputter more laughter-inducing nonsense than their counterparts.  Here's a fun game you can play when you're watching Fire: Try to guess the political stance of the interviewee before Kaye slams their name and affiliation.  You'll be right way more often than you'll be wrong.  Pro-lifers are either lunatics, or have that creepy David Koresh look about them.  Like Noam Chomsky says in the film, there isn't much difference between the religious zealots in America, and the religious zealots in the Middle East.