Self-taught director Deon Taylor, who directed the embarrassing Mike Epps spoof movie Meet the Blacks, has a familiar way of staging a scene. That is to say, at the Christmas potluck that is Hollywood, he’s brought nothing new to the table. Despite modern trappings, this is a movie that feels trapped in the 90s, both in story and storytelling technique. From the totally awkward over-use of R&B music on the soundtrack to the sleek but rarely suspenseful camerawork, Taylor’s creation feels like a product released after its expiration date, but one that lives and dies by its unintentionally ironic and campy sense of uncool. Fittingly, The Intruder is the dad bod of psychosexual thrillers, past its prime and flailing for relevance, maintaining its rangy charm by sheer force of will. It’s the Dennis Quaid of movies.   Read More