A young man who survives a disaster at sea is hurtled into an epic journey of adventure and discovery. While cast away, he forms an unexpected connection with another survivor: a fearsome Bengal tiger.
Young writer Sal Paradise has his life shaken by the arrival of free-spirited Dean Moriarty and his girl, Marylou. As they travel across the country, they encounter a mix of people who each impact their journey indelibly.
The feared bandit Cobra Verde (Klaus Kinski) is hired by a plantation owner to supervise his slaves. After the owner suspects Cobra Verde of consorting with his young daughters, the owner ... See full summary »
The American artist couple Port and Kit Moresby travel aimlessly through Africa, searching for new experiences that could give sense to their relationship. But the flight to distant regions only leads both deeper into despair.
With a plan to exact revenge on a mythical shark that killed his partner, oceanographer Steve Zissou rallies a crew that includes his estranged wife, a journalist, and a man who may or may not be his son.
After graduating from Emory University, top student and athlete Christopher McCandless abandons his possessions, gives his entire $24,000 savings account to charity and hitchhikes to Alaska to live in the wilderness. Along the way, Christopher encounters a series of characters that shape his life.
This story has elements that call to mind a real misadventure that ended with one person murdering another under very similar conditions. The murder of David Coughlin by Raffi Kodikian in New Mexico in 1999 occurred while both were lost together in Rattlesnake Canyon. Written by
"Gerry" is "Desert Seinfeld,' where it is really about nothing and nothing really happens.
"Desert Seinfeld,' where it is really about nothing and nothing really happens. It's Gus Van Sant's `Gerry,' not for Jerry Seinfeld, but for two young men, both named Gerry, who get lost while taking a hike on the `Wilderness Trail.'
Comparisons to Beckett's `Waiting for Godot' and Antonioni's `Passenger' will occur the minute you see Casey Affleck and Matt Damon striking out to see a `thing' somewhere on the trail in an arid Arizona or South Dakota (although expertly filmed in Argentina and Utah). The only way the DP could improve on the landscape was to time-lapse clouds and sunrises, and do some slick digitizing when a character jumps from a very high rock.
The long takes are spectacular, especially when Damon tries to extricate Affleck from the top of that `no-exit' rock. I was as pleased with the static camera and minimal editing as I often am with the realist work of Mike Leigh, who usually has much more dialogue than this minimalist film. In fact, except for the tinkling piano and violin coming in 3 times, `Gerry' could be a `Dogma' candidate.
Van Sant has directed an existential piece to rival last year's `No Man's Land,' about the Bosnian soldier imprisoned on top of a spring-loaded land mine. Van Sant here questions the men's understanding of themselves or each other (their 'f**k you's' are lightly given and taken and they see one of themselves in a mirage).
By the end of the journey, they have been appropriately humbled by a powerful Nature that threatens with distant thunder but never delivers water or lightning. Whatever the `thing' they set out to find, like Estragon and Vladimir in `Godot,' they do find the essential elements of life-birth, love, and death.
That's pretty good for a film with no more than a paragraph of dialogue in all. This is one of those films that make a patient man of me and drives my plot-driven friends back to Ahnold.
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