| Videos |
| Jonathan Tucker | ... | JJ | |
| Jennifer Tilly | ... | Dot | |
| Dan Moran | ... | Bull | |
| David Strathairn | ... | Dr. Charlie | |
| Larry Neumann Jr. | ... | Ernie | |
| Deirdre O'Connell | ... | Phyllis | |
| Ethan Embry | ... | Bobby | |
| Aleksa Palladino | ... | Lizzie | |
| Amy Zimmerman | ... | Anchorwomen Cindy | |
| Nathan Kiley | ... | Benji | |
| Greg Sandquist | ... | Officer Waters | |
| Eddie Bo Smith Jr. | ... | Soldier | |
| Larry Nash | ... | Anchorman Bob | |
| Jonah Marsh | ... | Young Mother | |
| Stephen J. Rose | ... | School Bus Driver | |
| Frank Caridi | ... | Delivery guy | |
| rest of cast listed alphabetically: | |||
| James Currie | ... | Friend At Bar | |
| Mark Finney | ... | Chet | |
| Roderick Peeples | ... | Bartender | |
| Chris Burnett | ... | AA Member (uncredited) | |
| David C. Hayes | ... | Bar Patron (uncredited) | |
Directed by | |||
| Tanya Wexler | |||
Writing credits(in alphabetical order) | ||
| Matthew Swan | writer | |
Produced by | |||
| Melissa Chesman | .... | executive producer | |
| John Cosgrove | .... | producer | |
| Ira Deutchman | .... | producer | |
| Stephen Dyer | .... | producer | |
| Greg Johnson | .... | executive producer | |
| Jo Levi | .... | associate producer | |
| Terry Dunn Meurer | .... | producer | |
| Peter Newman | .... | executive producer | |
Original Music by | |||
| Robbie Kondor | |||
Cinematography by | |||
| Gero Steffen | |||
Film Editing by | |||
| Meg Reticker | |||
Casting by | |||
| Mickie Paskal | |||
| Susan Shopmaker | |||
| Rachel Tenner | |||
Production Design by | |||
| Diane Hughes | |||
Set Decoration by | |||
| Martha Ring | |||
Costume Design by | |||
| Emmy Taylor | |||
Makeup Department | |||
| Karen Brody | .... | key hair stylist | |
| Karen Brody | .... | key makeup artist | |
| Stefanie Cook | .... | assistant hair stylist | |
| Stefanie Cook | .... | assistant makeup artist | |
| Suzanne Rodier | .... | hair stylist: Jennifer Tilly | |
| Suzanne Rodier | .... | makeup artist: Jennifer Tilly | |
Production Management | |||
| Christina Varotsis | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Frank Caridi | .... | second second assistant director | |
| Marie Frick | .... | second assistant director | |
| Bruce Terris | .... | first assistant director | |
Art Department | |||
| Michelle Caplan | .... | scenic artist | |
| Ann Davis | .... | scenic artist | |
| Judy Kropsch | .... | lead man | |
| Kelly D. Lewis | .... | set dresser | |
| Andy Mason | .... | set dresser | |
| Marc Miller | .... | property master | |
| Ed Raza | .... | storyboard artist | |
| John V. Thoeming | .... | set dresser | |
Sound Department | |||
| Rita M. Arce | .... | additional boom operator | |
| Shelley Batista | .... | foley editor | |
| Nancy Cabrera | .... | foley artist | |
| Jake Collins | .... | sound recordist | |
| Steve F.B. Smith | .... | stereo sound consultant: Dolby | |
| Ronald L. Wright | .... | boom operator | |
Special Effects by | |||
| John D. Milinac | .... | special effects coordinator | |
| Dieter Sturm | .... | snow effects supervisor | |
Visual Effects by | |||
| Luke DiTommaso | .... | visual effects | |
| Jennifer Russomanno | .... | digital effects artist | |
| Keith Yurevitz | .... | digital effects artist | |
Stunts | |||
| James Fierro | .... | stunts | |
| Rick Le Fevour | .... | stunt coordinator (as Rick LeFevour) | |
| Linda Perlin | .... | stunts | |
| Daniel Maldonado | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Fernando M. Briones | .... | key grip | |
| Armin Buerkle | .... | gaffer | |
| Jeff Conrad | .... | grip | |
| Dawn Copeland | .... | best boy electric | |
| Chad Erickson | .... | second assistant camera | |
| Chris Fedunok | .... | crane technician | |
| Keleigh Ferguson | .... | camera production assistant | |
| Christopher Glasgow | .... | dolly grip | |
| Michael Kohnhorst | .... | director of photography: second unit | |
| Anthony J. Lullo | .... | electrician | |
| William R. Nielsen Jr. | .... | Steadicam operator (as Bill Nielsen Jr.) | |
| June Park | .... | camera production assistant | |
| Ryan Puckett | .... | gaffer | |
| Christopher Rejano | .... | electrician | |
| James Richardson III | .... | electrician | |
| Rick Rios | .... | key grip | |
| Jeff Roberts | .... | director of photography: second unit | |
| Chris Ryerson | .... | grip | |
| John Soria | .... | electrician | |
| J.B. Spector | .... | still photographer | |
| David Stephenson | .... | electrician | |
| Chris Stloukal | .... | electrician | |
| Scott Thiele | .... | electrician | |
| Eric Wheeler | .... | grip | |
| Dave Wightman | .... | first assistant camera | |
| David Williamson | .... | electrician | |
Costume and Wardrobe Department | |||
| Tanja Deshida | .... | wardrobe assistant | |
| Jessica Lezak | .... | wardrobe production assistant (as Jesse Lezack) | |
| Rebekah Wiest | .... | wardrobe supervisor | |
Editorial Department | |||
| Rachel Goodlett | .... | assistant editor | |
| Jeff Marcello | .... | assistant editor | |
| Jason Watkins | .... | trailer editor | |
Music Department | |||
| Susan Jacobs | .... | music supervisor | |
| Jedd Katrancha | .... | assistant to music supervisor | |
| Anne Pope | .... | music editor | |
Transportation Department | |||
| Thaddeus E. Larkowski | .... | picture cars (as Ted Larkowski) | |
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When we first meet JJ (Jonathan Tucker), he has just got out of a rehab center. His doctor drives him home and JJ asks him to drive in circles around the corner; the doctor refuses. JJ is scared to see his mom, brother and stepfather. "It was the center or jail", he explains later to a friend. It actually seems like he's returning from jail.
Mother Phyllis (Deirdre O'Connell), brother Benji (Nathan Kiley), stepfather Bull (Dan Moran) are ready to welcome the boy home, joined by uncle Ernie (Larry Neumann, Jr.) and his spicy wife Dot (Jennifer Tilly). In the welcome scene, as in every other scene, there's a mysterious environment that involves looks between the characters; looks of anger and unsaid things. The family seems like a graveyard of secrets, that once they're hidden, they never get to see the light again, unless someone opens them. This is not as weird as it sounds; it's all real when JJ arrives, as it is real what happened to him that led to the rehab center. But it's not about what happened, it's about the reasons that made it possible and about one person who has never known a place in the world and has probably lived a fantasy.
The movie is shown in time changes; one is the present (or "the moment", as JJ lives it), with JJ adjusting to his life again, working and trying to stay sober; and the other one is the past, with periodical showings of session in the rehab center, where JJ traps all the attention and we get to see why he is the guy he is when he hasn't even turned eighteen. A key character in these aspects is Dr. Charlie (David Strathairn), who makes JJ realize about the important things in life. But Dr. Charlie could also be conspiring, as many of the others are.
As JJ moves on with things, we meet two characters of his age; Bobby (Ethan Embry) and Lizzie (Aleksa Palladino). The first one is a friend from childhood that had too much fun with him as they were growing up and now there are debts between them. JJ owes Bobby $3500 and starts working so he can earn them. Lizzie was his girlfriend, but left him for Tommy after he went to the rehab center. Did she write him? No. Did she visit him? No. The script presents test for all the characters, and we really want them to pass them. We could think that JJ went to the rehab center as a strategy; to get away from everything. But how can we know? We could think the doctor wants the best for him, that Lizzie cares for him, that Bull and Phyllis are supporting him We're never really sure and JJ isn't even, because he is beginning to discover his own self.
The only thing we know for sure is Dot's ambitions; she wants everything, and she's married to a man who thinks she loves him when you can tell she doesn't. We have to make all of our deductions from there, if we want to predict or something, but if not, we can sit and experience. The movie is a nice experience to witness. It has nice but simple visuals, achieved by a respectable team lead by director Tanya Wexler, who darkens things a little bit so we don't have to see them entirely. Together with a simple but adequate music, the feeling is clear.
Then it took Matthew Swan to create the story and write, so casting directors Mickie Paskal, Susan Shopmaker and Rachel Tenner looked for the right people that would give life to the material; all this resulting in powerful and moving performances, in higher levels than these films usually bring. Jonathan Tucker and Dan Moran become the movie's highlights. I've read (don't remember where) that Tucker is inexpressive, and I disagree. He is owner of a dramatic complexity that takes over him and makes him shine (it happened in the heart-whelming "Stateside"). Dan Moran is one of those always familiar faces that you can't tell if you've really seen or not before. He plays the most difficult role of the film, and he's stunning. In the best scene of the movie, Bull and JJ have a talk. Just watch Moran's look and Tucker's reaction in a father-son talk between a stepfather and his stepson, where the step father proves to be more a father than anything else. One of the best moving scenes about deep talks I've seen in quite a while.
Jennifer Tilly has been doing the same for years and she can't help it anymore, so we forgive her, even when she's not that great now. A totally unrecognizable Ethan Embry (although I was sure it was him) gives the best performance of his career since "White Squall"; a thing many people won't be able to see. All of his expressions are proof of the gifted actor he is. Deirdre O'Connell and Larry Neumann, Jr. are a little unnoticeable in their roles, as is Aleksa Palladino; however they all deliver correctly.
"Ball in the house" has many positive elements, but it doesn't succeed completely. Still, it deserves a watch from many people, but that couldn't happen in cinema. Another of those good movies that never reach the movie theaters.