Sensitive, somewhat effeminate farm-boy Duncan Mudge can barely cope with grim, since Ma's death even gloomier father Edgar's manly expectations, and seeks comfort in petting a chicken he ... See full summary »
Young James struggles as the outsider kid at his school. His teacher, Mr. Sutherland, the only person he feels he can connect with. When James finally puts a voice to his feelings, Mr. Sutherland's response isn't what James had hoped for.
Fifteen-year-old Howie loses just about everything and everyone in the space of a single week, but ends up finding himself in the process. His mother has just died. His father, a building contractor, can barely keep tabs on his young girlfriend, let alone his own son. Thusly, the teen must navigate his adolescence virtually unsupervised. Floating towards an ill-behaved existence, Howie and his crowd begin robbing houses in the middle-class neighborhoods off the Long Island Expressway. Together, he and his best friend Gary break into a place belonging to an old guy named Big John, a local man who is a respected pillar of the community. When Big John fingers Gary for the crime, Howie learns that his pal has been leading a secret, dangerous but also alluring double life. Subsequently, we also discover that Big John has secrets of his own. Written by
Sujit R. Varma
The second black eye that Howie receives disappears and reappears from shot to shot. It is absent in the scene in which Howie and Big John shave; however, it is present in several scenes beforehand and afterward. See more »
L.I.E. Long Island Expressway. You got the lanes going east, and you got the lanes going west. And you also got the lanes going straight to hell. Lot of people died on it. Harry Chapin, Alan Pakula, the movie director. You probably heard of them. But you never heard of Sylvia Blitzer, my mom. She died on a crash on Exit 52. I really miss her. It's taken a lot of people and I hope it doesn't get me.
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Thought-provoking, unsettling and at times downright disturbing ...
Thought-provoking, unsettling and at times downright disturbing, this is nevertheless a brilliant movie. An excellent script is given justice by some tight direction and marvellous performances, particularly by Brian Cox (Manhunter, The Ring) in a career-best performance.
It may not be sunny and happy, but it's a powerful piece of film-making. I could go on and on about it - but that's what message boards are for.
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