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Harrison Lloyd is a Pulitzer-winning photojournalist. His wife and family are making it hard for him to keep his mind on his work when he's in a war zone, and he wants to change jobs to something less stressful. But he's got one last assignment, in war-torn Yugoslavia, in 1991, at the height of the fighting. Word comes back that he apparently died in a building collapse, but his wife Sarah (also a journalist for Newsweek) refuses to believe that he's dead and goes looking for him. She's helped immensely by the photo-journalists Eric Kyle and Marc Stevenson that she runs into over there; together, they're determined to make it through the chaotic landscape to Vukovar, which is not only the nexus of the war but where she believes Harrison is located. Meanwhile, Harrison's son Cesar is looking after his father's prized greenhouse, keeping hope, and flowers, alive. Written by
Jon Reeves <firstname.lastname@example.org>
An advertisement for Windows 2000 can be seen in the window of a computer store as Sarah leaves an office building in New York in 1991. See more »
Excuse me, are you deaf? Or are you just not listening? It's impossible. What do you think, you drive to the airport and call for a taxi? 'Take me to Vukovar, please.' This is a war we have here. Real war with real blood, real death. Real bombs, mines, bullets. And real pricks who'd like to cut your stomach out. War. Didn't your husband ever mention it?
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Great acting and cinematography, but a implausible story
I'm really torn about this one. On one hand, the performances by Andie MacDowell and Adrian Brody are very good, maybe even Oscar quality, and the cinematography is truly excellent, capturing the horror that was Yugoslavia. Unfortunately, the story line is really kind of ridiculous. First, is there ANY mother that would intentionally orphan her children to go to a warzone looking for a likely dead husband? Second, it is VERY unlikely that anyone as naive as she is could make it through to Vodrosnik, regardless of who was helping. Third, the opening scenes in New York/New Jersey are not very watchable, with most of the actors trying too hard. It has a "Lifetime movie" feel to it. Once the film gets to Europe, however, a different sensibility takes over and it becomes riveting cinema, if you can suspend your disbelief of the general concept. Overall, I thought it as a good, but not great movie, certainly worth the price of admission if you can get by the premise. I give it an 8/10.
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