Diagonaldi Very well executed

Konterr Brilliant and touching

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

SnoopyStyle Filmmakers Bella (Olivia Wilde) and Milo (Tao Ruspoli) are pushed into driving Milo's brother Leo (Shawn Andrews) from prison across town to rehab or else Leo will be spending time in jail. Bella is not too happy as Milo is obligated despite their previous appointments. As they film their trip, Leo goes from one location to another in search for money to pay the $5k for the rehab. They meet sketchy characters doing questionable things as it seems like there is always another stop.This looks like an indie a bunch of friends did on their day off. Shawn Andrews gives a very kinetic performance, but it wears thin quickly. The problem with the story is that Bella and Milo keep repeating the same mistake over and over again. Leo is obviously lying to them as he spends the money on drugs. At some point, a clear thinking person would just stuff Leo into the back of the car while they drive him to the rehab instead of letting him go to every drug spot he knows. Somehow the movie needs to set up why the couple would go along with any of this.

Roland E. Zwick In the low-budget drama "Fix," Milo - played by Tao Ruspoli, who also directed and co-wrote the film with Jeremy C. Fels - and his girlfriend Bella (Olivia Wilde) are a couple of San Francisco-based filmmakers who are working on a documentary about the prison system in California. But before they can get to the task at hand, they have to drive to LA and get Milo's ne'er-do-well, drug-addict brother, Leo (Shawn Andrews), out of jail and into rehab by 8 in the evening or he'll be sentenced to three years in prison for violating his parole. They also have to find a way, by fair means or foul – mostly foul – of raising the $5,000 they'll need to enroll him in the program. Thus, the three of them race around the greater Los Angeles area, with the hopped-up, smooth-talking Leo finagling money out of some pretty shady and disreputable characters, though spending almost as much cash as he's taking in while doing so.In a sense, Milo and Bella wind up making a documentary anyway – only on a subject different from the one they'd originally intended, one that arises from life as they're living it. We rarely get to see Milo's face on camera, since he spends most of the time filming the action (a la "The Blair Witch Project"). At this point, one either goes with this aggressive, you-are-there, pseudo-documentary style of fictional filmmaking or one doesn't. And, predictably perhaps, the approach, as employed in "Fix," is both dramatically effective and annoyingly distracting in roughly equal measure. The best part about the movie is its off-the-cuff glimpses into various milieus and locales in the LA area. The plot, which takes place over a 12-hour period, does have a spontaneous feel to it at times, though it also tends towards the redundant and attenuated. However, the final third of the film achieves a level of poignancy and artistry one wouldn't expect it to based solely on its earlier stretches.Andrews brings a great deal of kinetic energy and roguish charm to the role of Leo, and Wilde is both poised and alluring as the attractive Bella. In fact, it is Bella's changing reactions to Leo and the world he inhabits that makes her the everyman character in the story who draws us more deeply into the venture than we would ever have gone without her. At first she is disdainful and casually dismissive of Leo; then, as she gets to know him better, her hostility turns to grudging admiration, then tantalizing approval, and, finally, a willingness to become at least partially complicit in his actions, making her in a sense the Bonnie Parker of the piece. The movie observes rather than judges Leo and the people he interacts with, while, at the same time, gently ribbing Milo – and, by extension, the actual filmmakers themselves - for his (and their) obsessive need to record every moment of existence rather than simply living life for its own sweet sake unencumbered by the camera.

Robert Pearson How does one make a drug movie these days, and not look like he or she is ripping off films like, "Requiem for a Dream", or "Spun". Well a good start is to stylishly shoot the picture from a first person perspective, giving a documentary feel.Fix is really one of the latest takes on the "mocumentary" genera. Films by Christopher Guest come to mind when discussing mocumentaries, and movies like the "Blare Witch Project" defined it's boundaries. The decision to shoot the picture this way allows the audience to immediately connect with the characters, and keep them interested throughout.I liked "Fix" more as a mocumentary than anything else. As a movie about two brothers bonding, it was not as innovative as the spin, it's photographic direction, put on the story being told. The performances are honest, and garner no more criticism than praise. I screened the film in late 2008, and it was a breath of fresh air from the other pictures I was reviewing. I would recommend "Fix" to any movie goer, but especially to the independent movie fan; who will enjoy the picture for it's independent spirit." I am interested in seeing the next film Tao Ruspoli directs, and hope it matches "Fix's" style.

nwsts I suppose the "shaky camera" style is there to add a sense of realism. Well, it doesn't. It just makes you think your watching a high school project that was made with the parents Handycam. The entire movie is shot from the storyteller's Point Of View, which is very hard to do well, and in this case it isn't. (Try any episode of Peep Show to see this technique done well). Also annoying was the preposterous situations. Like drug dealers supposedly being "cool" with video taping the transaction and many more like this. The minor characters were almost universally unbelievable and very poorly acted. Most of the dialogue was sparse, uninteresting, and unrealistic. Shawn Andrews is the bright spot and adds a professional touch to an otherwise puerile film.