Off the Map (2003) User Reviews

Sweet Salve for the Soul

[Marnielover · 8/10 · 17 March 2003]

"Off the Map" is an "old-fashioned" film that made me feel, in the immortal words of Frank Zappa, that it's f*cking great to be alive. This film took me to a place in my heart I haven't been since the wonderful Bill Forsyth ("Local Hero") faded from the movie-making scene. It is high time for humane, gentle, wholly original stories of people and places off the map (or in our technological dystopia, perhaps `off the radar screen' would be more appropriate) to fill our movie dreamscape again. New Mexico is the only place in the United States this could have been filmed because, indeed, only the Land of Enchantment could have fit this gorgeous, lyrical story so well.

There wasn't a single relationship in this film that wasn't unique and fully realized. We've seen these set-ups before: the school-girl crush of Bo for William Gibbs, the awe-inspired worship of William for Arlene, the friendship between Charley and George. But don't we always get the caricatures, the popcorn images that point out the woeful arrested development of our country and its mythmakers? We think we want to be young forever. But it takes a film like "Off the Map" to show us all the richness we're missing out on by not growing up. (And the casting and direction of this ensemble of actors was nothing short of genius, especially Joan Allen. It's nice someone can see her as something more than middle-class white bread and pull this very individualistic performance out of her.)

I'm feeling kind of emotional just thinking about some to the great scenes in this film: when Charley runs 20 miles to George's house and goads him into wrestling; when Charley and William talk about what it feels like to be depressed; when William watches Arlene standing naked in her garden watching the totemic coyote; when Bo extracts from George the information she needs to apply for a MasterCharge card; Arlene reading Bo's letter in the newspaper advice column; Bo thanking the squirrel for giving up its life to feed her and her family; George's presence, like an old pair of sneakers, in the Groden home.

Like I said before, I didn't think people made films like this anymore. Thank you, Campbell Scott, for proving me wrong.

a sweet and beautiful film

[Agentlite · 8/10 · 2 March 2005]

Campbell Scott has directed a gem in OFF THE MAP. I had the chance to attend the premiere at Lincoln Center and was blown away by the performances of Sam Elliot, Joan Allen, J.K. Simmons, and Jim True-Frost. The New Mexican landscape complimented the story perfectly, and I felt as though I too was living on a ranch in the middle of a desert.

Elliot, an actor best known for his commanding on-screen persona and deep booming voice, did a complete turn around in this film. He hardly speaks for the entire picture, taking on the persona of a depressed yet warm man. When he does speak, it is with the subtle wisdom of a father, who, as True- Frost's character puts it, "has it all." My only longing in this area was that I wanted to see more of Elliot before he dove into depression, to strengthen the contrast.

Allen complements Sam perfectly as a metaphorical "mother earth" holding the family together as her husband suffers through the necessary ritual of unwarranted depression. She is so overwhelmingly beautiful in this film that when Jim True-Frost shows up, playing an IRS man there to audit the family for neglecting taxes indefinitely (neither Elliot or Allen work, they live off the land and on what they find in the local dump) he falls hopelessly in love with her and their centered, untarnished lifestyle.

True-Frost really makes a mark in this movie, and I would not be surprised if we see much more of him in the indie future. His character is a drifter working for the IRS (if you can believe the irony) and while not looking to find himself, he finds something much more important, beauty in the world around him, in the New Mexican landscape, and in painting with the water colors J.K. Simmons has purchased in an attempt to pull Elliot out of the depths of depression.

Simmons is delightfully refreshing as Elliot's long time best friend. He silently amuses in the role, with the quiet nature of someone who is truly at peace with all things around him.

The film also marks the debut of Valentina de Angelis, in the spunky role of Bo who ties everything together. We follow her as she yearns to escape from the very seclusion that her parents, Allen and Elliot embrace. She is rough at times, delivering lines that seem wise beyond her years, and it seems that as time progresses she may develop her craft into something greater. She has a face the screen loves, and undoubtedly that is why she was cast.

Campbell Scott is the true star here. The visuals are mindblowing. He weaves the people in the film into the land he shoots on, and creates visual illusions that are more often than not extraordinary. I would be remiss in not mentioning Joan Ackermann, whose writing makes this story far more meaningful than it might have been had the family been using electricity, plumbing, and a phone. After all, aren't the modern conveniences what prevent us from true personal reflection?

Bravo Mr. Scott. Bravo. Yes, it's a long film, and if it were a studio picture it would be 30 minutes shorter - but Scott made the film he wanted to, and we are all lucky to partake in his perspective of desert mirage.

Prozac Southwest

[cwhyel · 7/10 · 4 September 2005]

Worth watching, plain and simple.

I was torn somewhat between the precocious kid and the depressed dad. It was a little too much and yet the simple beauty of the New Mexico landscape offset their performance. A tighter conflict would have helped the pacing.

Everything seemed to balance itself out though, and most should find something to like about this movie.

I adore Joan Allen. She is built like a leading lady, looks, walks and talks like a leading lady yet is a great character actor as proved here. I had to look a little close to recognize her and I love that in great acting talent.

Sam Elliott, a veritable man's man, held steady. I think his effort was commendable though having been around persons afflicted with various types of depression, his seemed a bit vague, and uneven. It was like a functioning catatonia with bouts of chattering. I didn't get it. Since his mental illness was,in essence, the spine of the story, the spine was a bit bent. Still,handsome Sam is still watchable and worthy of our respect as he does not seem uncomfortable with his gray hairs or his wrinkles. Very anti-Hollywood.

Of the ensemble cast, I really enjoyed J.K. Simmons. Simmons who seems to have put most of the food on the table career-wise by playing nasties (especially in OZ) as well as disaffected authority figures, was refreshing as George, an everyman with a simpleness that was most enjoyable.

In closing, I think I would have liked the movie better if they had given proper treatment to the depressive issues affecting Charlie, Sam Elliott's character. Mental illness advocates might agree.

Still it was a bit like Walden Pond, New Mexico with more people.

Again, my criticisms aside, there is plenty to like about this. It's worth the time to watch this movie.

achingly good

[simonrosenbaum · 9/10 · 3 November 2003]

This is one of those films you can really lose yourself in. A woman is reminiscing about a time in the early seventies when she was 12 years old and her father was struck down with a bad dose of depression. First thing you notice is the amazing colours of New Mexico, the photography is stunning. Then there's the acting by Joan Allen, Sam Elliott and especially Valentina de Angelis which is sublime. The story is simple but heartbreaking and ocassionally very funny. When the film ends, like waking up after a beautiful dream, you'll long to keep that magical feeling for as long as possible. Not to be missed! (9/10)

Not enough movies like this are made.

[JohnDeSando · 21 March 2005]

When a married Arlene Groden (Joan Allen) tells her house guest, William Gibbs (Jim True-Frost), that although it's nice he's expressed his love for her, it can be accounted for by the power of New Mexico, I knew I would express my love for this understated, eccentric, and satisfying film. While the two male heroes, Gibbs and Arlene's husband, Charley (Sam Neill), are both depressed in the clinical sense, the film is not about depression but rather the forces of devotion and simplicity that keep these retro-hippies functioning in a remote world somewhere around Santa Fe, Taos, and El Paso.

Narrator Bo Groden (as adult, Amy Brenneman and as 12 year old, Valentina de Angelis) reminisces as an adult in voice-over about that 6 months of her father's immobilizing depression in the seventies and her own freedom in that pristine land where she could hunt, plink, and create without restriction. Bo is not a wild child but rather a home-schooled, precociously sensitive pre-teen who plans to leave here as soon as possible while she regularly receives gift packages from manufacturers whom she has threatened to sue over allegedly contaminated products. Her nonchalant but effective treatment of her father in his funks is one of the many acts that assure us she is quite capable of surviving anywhere. Director Campbell Scott's determination not to fill us with back stories on all the characters makes for an energetic exploration of the way they are at this time.

Gibbs, who came from the IRS to audit the family, stays 8 years, long enough to paint New Mexican landscapes of note. His friendship with Charley is true and good, despite that fact that Charley probably knows Gibbs loves Arlene. Charley asks him, "Ever been depressed?" William replies, "I've never not been." Out of his passion for the landscape comes his sanity and a renewed interest in life that he seemed to have lost with the suicide of his mother, for which he feels responsible.

"I am a damn crying machine," Charley says. You may end up crying as well, but only because not enough movies like this are made where insights into humanity are as abundant as the Groden's garden and their four years' supply of homemade canned goods. Lafcadio Hearn could have been describing the Grodens when he said, "It is only in the home-relations that people are true enough to each other, --and show what human nature is, the beauty of it, the divinity of it."

Alternative lifestyles of the frugal and anonymous

[roland-104 · 7/10 · 20 November 2005]

Winsome tale of a little family that chose in 1974 to unplug themselves from the "grid" of middle class life and go live off the land in the middle of nowhere, New Mexico. A windmill pumps their well water. They read by kerosene lamps. They grow vegetables. They've gradually stored away four years of food and three years of firewood.

Cash comes in the form of a small VA pension to the head of the household, Charley Groden (basso voiced Sam Elliott), plus some modest crop sales. All told, they take in about $5,000 a year. Which makes it curious indeed when they receive notice that the IRS is dispatching an agent to visit. But wait a minute, I'm getting ahead of things.

The other family members are Arlene Groden (the immensely versatile Joan Allen) and Bo (Valentina de Angelis), Charley and Arlene's precocious 12 year old daughter. A good friend, lonely bachelor George (J. K. Simmons), hangs around so much he seems like family too. The time in question here, when Bo was 12, actually was maybe a decade ago, for we are learning this story as a narrative reminiscence told to us by a now adult Bo.

The summer when she was 12 was marked not only by the advent of William Gibbs (Jim True-Frost), the IRS man, but by the occurrence of Charley's first ever episode of deep depression. It went on for months. He sits mute most of the time. Eats little. Sleeps little. Cries softly a lot. Refuses to seek professional aid from the VA.

Arlene manages to keep things going, but her generally serene style is eroding as the weeks go by. It doesn't help that Bo is restless, tired of her isolation, chafing to go to regular school, get a credit card, move out into the larger world. Not one to hide her light, Bo complains eloquently about her boring life, even as she maintains a loving, respectful attitude toward her parents.

The arrival of William Gibbs destabilizes the precarious symmetry of these people's lives. Turns out Gibbs is depressed too: maybe not as severely as Charley, but it's gone on for many years. He just became an IRS agent lately, grasping at some possible change for the better. In thrall to Arlene's mystical ways and beauty, Gibbs drops out of the IRS, moves into an old schoolbus on the property, and takes up watercolor painting.

Arlene and Bo are both grateful for attention from a new face. And, perhaps in a house too small for two depressed males, Charley begins to come out of his shell, with some help from a borrowed bottle of antidepressant pills that fire up a manicky conclusion to his near catatonic state. Even George comes to life and goes hunting for a woman to marry.

This is a small film about unconventional people, folks who don't fit the molds of middle class, rich, arty or neurotic urbanity that typify the subjects of so much traditional fiction – print and film. Adapted from a stage script by the playwright, Joan Ackermann, this work reminds me of the novels about quirky, offbeat people that have become so popular in the past few years.

I'm thinking of the work of authors like Louise Erdrich ("The Beet Queen"), E. Annie Proulx ("The Shipping News" – which, incidentally, was adapted into a fine film that did not receive the recognition it deserved), or Anne Tyler ("Clockwinder," " Dinner at the Homesick Restaurant," "A Slipping Down Life").

The movie is not without its hitches. Why is a coyote - to which Arlene had developed an intense spiritual connection - killed? How did Bo actually acquire that credit card and get approval to use it for such a grand and costly gift? The film starts somewhat bumpily. For a while it seems like Ms. de Angelis will overwhelm both her family and us viewers with her domineering intelligence. But with time, she, like the film itself, wins you over.

Indeed, "Off the Map" ends by charming you, making this film a pleasant surprise. It's of interest to compare "Off the Map" to another recent release about 1970s dropouts, Rebecca Miller's "The Ballad of Jack and Rose." That film more or less trashes the whole ideal of living a life according to values that run against the stereotypical middle class norms of acquiring material possessions and working to pay off the resultant debts.

The fact that Jack and his merry band failed to sustain their alternative way of life is implicitly presented as evidence that their aims were unsound, invalid. "Off the Map," on the other hand, conveys a better sense of what motivated people to drop out back then and shows that at least some dropouts achieved a measure of success.

I don't know why, but it took two years to bring this decent film to the screen (made in 2003, it is only receiving commercial distribution now). My rating: 7/10 (B). (Seen on 04/13/05). If you'd like to read more of my reviews, send me a message for directions to my websites.

Completely Original & Mesmerizing

[kfitzfake · 10/10 · 14 March 2005]

This movie just blew my mind!! Let me start by quoting some of the review in LA Weekly:

From beginning to end, the movie achieves nearly complete originality of expression that makes it as anomalous a figure on today's independent film landscape as the film's characters are on theirs. Sequestered on a ranch deep in the recesses of rural New Mexico, a part-Hopi woman (Joan Allen), her catatonic depressed husband (Sam Elliot) & their precocious 11-year old daughter (Valentina de Angelis) live off the land...

The characters rarely do what we expect of them, while tragedy, absurdity and mordant humor are held in a precarious balance that recalls Sam Shepard at his best...

The ocean meets the sky in a cycloramic mural that, like the movie itself, is a small masterpiece of tone and form. To watch Off the Map is to be pulled into a private universe on the brink of civilization--from which, at the end of two hours, it is impossible to exit unaffected.

This is too true. Half the audience sat through all the credits & then sat for a long few minutes more, just unable to move. For the second time in a week--1st was after Dear Frankie--I was walking the beach for an hour working off feelings stirred up by a film. I don't usually react this way!!

Some more observations from me:

Acting: Joan Allen has GOT to get an Oscar nomination for this! She's excellent throughout, but there's one scene you will never forget: She's hoeing the garden nude with a floppy hat standing like a statue. I won't say more, but what you think is going on isn't. The whole way the scene is filmed is both hilarious & just wow all at once. She was so brave doing that--and no ridiculous implants for her! She's just gorgeous.

Valentina: She shines. It reminded me of the reaction Natalie Portman got in Beautiful Girls. The one where men were saying, "I feel like a pervert, but I can't wait for her to grow up." But this blows Natalie away, in my opinion.

Sam Elliot does an amazing job as the depressed husband. He looks old & grizzled these days but he's got a sexy deep sand papery voice I've always liked. And he's still handsome.

Jim True-Frost plays a visitor who gets drawn into their strange world. He has several excellent scenes where he blurts out all these intense feelings.

Script: The whole story is just so unique. And the dialog is really clever. It will remind you a little of David Mamet.

Directing/camera-work: Campbell Scott created an amazing film and has an eye for beauty and a feel for understated but potent eroticism. But what really got me is the way they framed shots when the characters start doing something really random. The action often starts outside the audience's POV & pans over so you're craning in your seat to see what's going on in anticipation.

I can't recommend this highly enough!

A Lovely New Age Little House in the Desert

[noralee · 7/10 · 25 March 2005]

"Off the Map" is like a 1970's take on "Little House on the Prairie" with a dose of the realism of "Wisconsin Death Trip." We see these New Age pioneers in the beautiful high desert of New Mexico through the eyes of a precocious early teen girl, much like Anna Paquin's character in "The Piano" in another primitive, isolated environment. (The voice over of her as a grown-up tries to compensate for this limitation but is more annoying than additionally insightful.)

So we don't get much factual information on her family's lives, back story or explanations of their behavior deeper than what she sees and overhears, let alone how they came to live mostly off the grid. We get only hints of how Joan Allen became the supremely confident and capable Earth Mother that she is, something about her grandmother being a Native American healer, to dominate the screen as well as her daughter's life and everyone else's she touches.

As effectively though still talkily adapted by screenwriter Joan Ackermann from her play, the story hones in on one summer when the father, as played by Sam Elliott, is so depressed as to be literally catatonic-- we only get a glimmer near the end in one long, silent, resonant exchange of how the strength of the husband-wife bond got them through this emotional crisis. It is unusual to see the impact of a family member's depression on the rest of the family, as well as friends, though it's not clear if his buddy J. K. Simmons is still Korean War shell-shocked or just plain brain damaged.

The story, however, is not about the usual romantic triangles as it careers in an unexpected direction when Jim True-Frost (of "The Wire", where he also plays an unhappy naif who discovers his calling) wanders in and is even more blindsided by the scenery than we are. Until I saw the Sundance Channel's explanatory "Anatomy of a Scene" documentary, however, I was just confused by the selection of the pop song "Me and Mrs. Jones" as the ironic background to his epiphany, even while I was admiring the song selections throughout the movie.

Usually the point of bringing characters together in such an isolated, let alone Western, setting, a la Sam Shephard plays, is to force them to bounce off each other for uncovering secrets and making brutal realizations. Here, it seems the gentle theme is more how people can help give nature a little nudge to save our souls. Not a big revelation, and while it a bit mysteriously trails off at the end due to unnecessary foreshadowing and some of the plot incidentals just don't make a lot of sense, is still satisfying.

The make-up is unusually realistic and believable looking, from sun-burnt bodies to un-wigged-looking long hair.

"Off The Map" -A Stunning Film!

[hickyman2001 · 10/10 · 8 February 2005]

In the mid 90's I had the privilege of seeing Joan Ackerman's original play,"Off The Map" at Mixed Company,in Gt.Barrington,Ma,In the Berkshires-where it was originally produced and performed-the play was beautiful,powerful and I fell in love with it.

This past Sunday-there was a special Fund Raising screening of "Off the Map" which I attended-with a Q&A with Joan and director Campbell Scott,afterword.The film blew me away!! Absolutely Stunning!! I came out of the theatre,feeling like I had been hit with something big-not sure what! The film is extremely faithful to the play-and really packs an emotional wallop to the soul-I couldn't have been more pleased with the cast-Top notch all around,with Sam Elliot playing against type-Joan Allen makes the perfect Arlene,and the girl,Valentina de Angelis was absolutely perfect as young Bo-as was the rest of the cast,J.K Simmons,Jim True-Frost- I am still stunned by this film,and am really looking forward to seeing it again,and owning it on DVD!!!!!!!!!!!!!!!

Off the Map loses its way

[seaview1 · 6/10 · 4 April 2005]

This is looking like a strong year for actress Joan Allen as she has two major films for 2005 with The Upside of Anger and Off the Map. The latter is less a commercial film as a character study that can't shake its theatrical feel.

Told in flashback by an adult female, Bo (Amy Brenneman), it is a story mostly viewed through the eyes of herself as an eleven year old (Valentina de Angelis). Set in the Southwest, her parents live 'off the grid' by barely scraping by on modest income and surviving off the land through hunting and gardening, and oh yes, the kindness of a friend, George (J.K. Simmons). Not even possessing a telephone, they resort to a basic living situation and haven't paid taxes in seven years. Led by a resourceful mother, Arlene (Joan Allen), the family must deal with the recent, unshakable depression of the father, Charley (Sam Elliott).

One day, a stranger visits from the IRS and his appearance will forever affect the family and himself in years to come. As the family attempts to cope with Charley's silence and inaction, the taxman, William Gibbs (Jim True-Frost), begins to understand these simple people, and he eventually learns to admire them. Young Bo, who is a bright and clever girl, eagerly yearns for a life beyond her limited world. This group of damaged souls struggle through their emotions amid the painted landscape.

Adapted from her own play, writer Joan Ackerman just doesn't break free from the theatrical confines of her material. Although the seductive, natural scenery makes for almost a character unto itself, the film still feels stagy. The storyline is not structured in linear fashion which can be frustrating to an audience. It is essentially an experimental character study. Even the characters are such a pathetically sad bunch to the point of making one feel sorry for them. Talk about depression! It's too bad, because some decent performances are lost in the randomness of the plot. They deserve better. Stronger direction (by director Campbell Scott) and improved pacing would have helped. Sam Elliott, who has been sorely underutilized in film (We Were Soldier, The Contender), has the unfortunate task of being nearly catatonic through much of the story. Joan Allen shows good range and nearly escapes the film unscathed. Jim True-Frost performs adequately As the taxman but does not have that extra magic for what is essentially a catalyst type of role. Valentina de Angelis is a child of talent worth noting. Her character may be the most developed as we learn her desires and fears. Young Bo is so resourceful, she even gets free food and products through her aggressive complaint-mailing campaign to manufacturers. And wait until you see what she ultimately does with a certain credit card.

In the end, we don't care about these folks as much as we would like or should, and that's a shame. Audiences are likely to be turned off by the random nature of this film and its unhappy denizens. Unfortunately, by its depiction of a sensitive subject such as depression, the makers of Off the Map may have unintentionally wreaked havoc by making the audience depressed.

Very Disappointed

[lphan · 3/10 · 29 March 2005]

I must say. . .I was excited about the reviews this film's been generating. I prefer Indie and/or foreign films, and have enjoyed the following: "What's Eating Gilbert Grape", "Brothers McMullen", "Boys Don't Cry", "You Can Count on Me", "Maria Full of Grace", "Real Women Have Curves", "Born Into Brothels", and "The Sea Inside".

Unfortunately, I can not add "Off the Map" to the library of films I've enjoyed. Moreover, I nearly walked out on this film (something I've never done before). Painfully slow to develop. The plot really doesn't exist. Yes, the father suffers from depression but the story never explores the emotional toll it's taken on the other characters. Joan Allen had a nice performance, but not great enough to save this boring film. And the IRS character? So misplaced and only added to the scattered storyline. The only redeeming thing about this film was the complexity of Bo's character and her emotional dynamics w/ George, the family friend who symbolically becomes the father figure. Yet, 5 minutes of hope doesn't save the remaining 2 hours (which seemed like an eternity).

I'm surprised because I never think so harshly of an Indie film. Yet, I feel obligated to warn others who have high expectations. You'll be disappointed, much like I was.

An Intimate Epic

[jsredmond2003 · 10/10 · 21 April 2005]

What a pleasure to see this movie--an intelligent and beautiful film that deals with real, grown-up (and growing-up) issues faced by real characters in thoughtful and believable settings. The young girl's character was excellently drawn and acted--as was the mother's, played by the wonderful Joan Allen--but Sam Elliot stole the movie for me. What a great piece of understated acting. The screen writing is wonderful, too, but the acting is truly phenomenal. The best American film since "American Beauty"...If you liked "Lost in Translation" or "Spring Forward" you will love this movie. Cameron Scott should be nominated for an Oscar for best director--his hand is so delicate yet knowing--thank you Cameron, for making sure this film got made, and for all you clearly must have done and been through to get it distributed. It is an amazing film.

The Land of Enchantment

[lastliberal · 6/10 · 8 August 2007]

I used to go visit my parents when they lived in New Mexico. I'd time my visit to see the Balloon Festival. The colorful balloons dancing across the New Mexico sky is an apt metaphor for why this land is so special.

The Grodan family (Bo (Valentina de Angelis), Arlene (Joan Allen) & Charley (Sam Elliott) lead a minimalist existence in this land. They grow their own food, hunt for small game, and live without TV or telephone. They make their own entertainment.

Into this family William Gibbs (Jim True-Frost) walks in and his life becomes enchanted. He has been trying to find his way all his life and he begins to do so the moment he spots Arlene naked in the garden entranced with watching a wolf.

The film featured an outstanding performance by Valentina de Angelis in her first film. It was a tender and thoughtful and, at times, a funny film.

Script needs more than Allen's top notch performance

[rosscinema · 4/10 · 17 April 2005]

One of the flaws that independent films often suffer from is the lack of structure in the story though we realize the filmmaker is attempting to present something in a more realistic manner. Even after audience members have bought into the story's style one can't help but feel a need to understand what exactly we are supposed to bring from viewing this. Story is set in a remote area in New Mexico where in flashbacks Bo Groden (Amy Brenneman) looks back at her upbringing which was considerably different than that of others.

*****SPOILER ALERT***** 12 year old Bo (Valentina de Angelis) is being home schooled by her mother Arlene (Joan Allen) and they live in a desert home somewhere between Las Cruces and El Paso. Bo's father is Charley (Sam Elliott) and he is going through terrible depression which has left him staring into space and going through crying binges and he is urged by his wife and daughter to try anti-depressants which he refuses to do. Charley has stopped filing his taxes and this brings William Gibbs (Jim True-Frost) from the IRS to their home. He is stung by a bee and falls ill for several days but when he eventually gets better not only does he explain his own personal depression but he also claims his love for Arlene!

This is directed by actor Campbell Scott who in 1996 made a very good film called "Big Night" but his directing efforts have been spotty ever since. Many have stated that they enjoyed this as a quirky slice of life but I personally did not and the main reason comes from Joan Ackerman's script which comes across as totally aimless. The film wants it's viewers to understand why the character William would have a life altering experience from being in New Mexico and that part just does not come across as believable. As soon as he wakes up from being ill he declares his love for Arlene but the problem is that aside from seeing her nude he hasn't spent much time with her. Maybe he's just incredibly horny! Elliott is a terrific actor but I didn't believe his bout with depression either mainly because he's such a strong force on film one would just expect him to brush aside something like that and get on with his life. Allen's performance is the saving grace but even her character is hard to buy at times and the perfect example is the scene where she's getting ready to skin a bear after just killing it. Jeremiah Johnson would be very impressed! Allen is very good though and while she's always been very attractive this role does something that other parts in films haven't and that's show her in a more earthy light. The image she portrays here exudes a sexuality that audience members may never have seen before and it has nothing to do with her beautiful body which she shows in nude scenes. The film's story wanders and pointlessly goes through about 8 years in the life of this family and it never heads to any real conclusion which may have worked with a better script. Although I do respect what the actors were trying to do (especially Allen) the rest of the film just isn't up to the speed of their talent and the result is a film that plods along aimlessly.

A REAL film!!

[aurora7802 · 10/10 · 20 November 2004]

I saw this film at the High Falls Film Festival in Rochester NY, and had the pleasure of speaking with many of the people involved in this production. I have to say that this is one of the best films I have seen in a while. It's REAL... with a tranquil quality.. but REAL in a way that we can all see and relate to these characters in some way. It is a "slow" film... but that's what makes it so AMAZING.... it sucks you into these peoples lives... not just the girl.. but those surrounding her. I would love to see more films made like this. Cudos to Camble Scott for such great direction and Joan Ackermann for writing such a beautiful play.. that is now on the BIG SCREEN!!

Please, go see this film.. it takes you on an amazing ride.. BUT.. understand... that this is not an action flick... it is REAL... almost gritty and dreamy... one minute you will be laughing.. and seconds later your laugh will abruptly stop and tears may come to your eyes.. then.. back to laughter!!

I highly recommend this film!!!

If you don't like magical realism, this film may not be for you.

[angelofvic · 6/10 · 15 October 2011]

This indie flick directed by Campbell Scott is quirky but quiet, slow but unrealistic. Think "Big Night" in tone, but much slower and quirkier, and add doses of magical realism and a lot of gorgeous New Mexico scenery.

Magical realism combined with slow storytelling make for a flick that is probably wonderful if seen stoned, but somewhat draggy (at least to me) if one is expecting a normally paced, realistic movie. My tolerance for magical realism probably begins and ends with Robert Redford's "The Milagro Beanfield War", a movie that had a much quicker-moving and more active and indeed more relevant plot than the sleepy incongruous tale told here.

But if you like quirky indies, check this out. Performances by Joan Allen, J.K. Simmons, Sam Elliott, and so on, and a wonderful fresh face -- Valentina de Angelis as the young daughter.

So glad this film finally got distribution!

[hurstlacey · 10/10 · 19 March 2005]

I just loved this movie. Anyone who values character driven indie films lucky enough to be near a screening of this film should rush to see it. I left the film feeling I really knew these fascinating characters, and felt lucky to have known them for the last two hours. This film would be perfect for the film festival circuit, I don't know why they didn't go that route, for that would have built word of mouth for a better placed release. It deserves the art house circuit, but is screening in multiplexes that won't nurture it; and audiences that prefer this kind of movie never venture into these theaters. OK, the film: Magical New Mexican vistas, wonderful paintings, sensitive direction, breathtaking acting by all. Every character had their own story, whether it was coming-of-age, sensual awakening, recovery, or fulfillment. Yet all these stories seamlessly integrated into the whole. Just go and enjoy.

Not horrible, but no where near as good as the rating indicates

[I_am_RenegadeX · 6/10 · 27 February 2006]

'Off the Map' passed the time, it was pleasant, it was sweet, certainly a little different to everything else out there, but by no means did I 'enjoy' it.

Reading all the treacly positive comments here on IMDb, and looking at the IMDb ratings categorized by age & sex, it appears that this 'is a film for everyone' (though females in all age groups will like it slightly better than men of similar age). Yet I watched 'Off the Map' this weekend on DVD with 3 other people (so we were 2 males, 2 females), and who's ages spanned 3 IMDb age-groups, and we all came away from it feeling not only a sigh of relief that the film was finally over, but disappointed that 'that' was it.

The film itself is decent: gorgeous scenery, pretty good acting, straightforward story, etc, etc. But the film plodded along so slowly that we all found ourselves looking at the clock to see how much longer before it was due to be over. And by the time it was about to finish, I couldn't even remember how we found ourselves in the flashback-that-is-the-movie to begin with!

Not all that much happens in the film, and I'm OK with that. But what could have been done better perhaps would have been to show us a glimpse of life *before* the father's depression, a glimpse at the happy, active and loving family they we are told they once were. This would have contrasted well with the family that we found ourselves watching, and perhaps made us more sympathetic towards them. Bo, of course, has memories of the better days, which is why her recollection of the time in her life that we are privy to is so much more poignant. We could have benefited from the same.

I had to laugh at the 'sexual content' advisory on the box (and the fact that someone commenting on the film here on IMDb bumped their rating up by 2-stars 'because of the nudity': there is 1 scene in which a 'live' breast is visible, and maybe 2 instances where we quickly see some nude sketches of the same person - none of which are sexual in context. And correct me if I'm wrong, but in all cases Bo, the young girl, is present (fully clothed at all times!).

I wouldn't have mentioned it - except that it shows that people have a tendency these days to over-dramatize things. Including 'how good' this film was.

On the bright side, I can say that I am thankful that Amy Brenneman's screen time was kept to under 3 minutes!

This film would have been a good 'made for TV' movie. Regardless, if you haven't yet seen 'Off the Map' and are wondering if you should rent it, ask yourself first if you'd enjoy a nice relaxing evening watching a film on The Women's Network. 'Cos this film suits it perfectly.

Lovely Film

[delphine090 · 10/10 · 19 March 2005]

This film confirms once more my determination to seek out indie and "off the map" film in lieu of the current terrible "mainstream" fare.

The acting is superb - Joan Allen's quietly powerful Arlene nurtures us with her presence (and her unstudied sensuality), Sam Elliot's Charley stunningly conveys his immense pain and frustration with few words, and Valentina de Angelis' Bo is simply a marvel as she tries to navigate her father's depression with the naivete and innocent wisdom of a child (and she's beautiful, to boot). Have I mentioned that Sam Elliot is consistently amazing? In my opinion, his quietly powerful acting has always been underrated. As Charley emerges from his depression, Elliot's sex appeal shines again as well.

Jim True-Frost's Gibbs is a subtle, complex study of a man figuring out where his peace lies and J.K. Simmons' simply centered George anchors the other characters.

The movie is beautifully shot, drawing us in bit by bit as the movie progresses with the beauty of New Mexico which at first seems rather desolate.

The minimalist "soundtrack" to the movie is the sound of the desert itself - wind chimes, coyotes and owls, the blowing wind, the sound of wood on wood. Everything keeps you grounded where these people live. What could have been conveyed as an absurd lifestyle is fully realized and we understand why they've chosen it.

Scott tells us a story but doesn't tell us how to feel about it - which is one of the most powerful differences between films such as this and "mainstream", well, crap. It is what it is, the characters do what they do, they aren't predictable archetypes but unique human beings, there are surprises, nothing is broadcast - just like real people, real lives.

We believe in this family of characters and in this story. Excellent film.

Acting and Entertainment was good, but a bit slow

[Esoteric1616 · 13 March 2003]

Campbell Scott's "Off the Map" was a relatively entertaining film in the Indie fashion. The colors and grain amountage were top-notch, creating a deeper picture and a very fluid film. I entered this film at Sundance only hoping to see Sam Elliott and Joan Allen on screen in an indie, but the film turned out in an unexpected way. It is true, the film was slow and a little long, but it did have some emotional and positively dramatic moments that were not frustrating to watch. Some of the acting was a bit below par, but Joan Allen and Sam Elliott did the best they could do. If it had been tied together a little bit smoother, I would say that this was a true moment at Sundance, but in fact, it shined for being imperfect. All I ask for in an indie is something different and here they tried to make the best of the movie for what it was. The acting and cinematography are definately worth watching and there isn't anything better than spending a weekend watching these types of films. Overall, I'd like to say that I have seen a few films like this before, but this one would probably be the best of that category. Besides its somewhat slow pacing, this film is definately not hard at all to watch, and in fact entertaining, so see it if you can.

Entertaining but needlessly flawed.

[Bob Pr. · 7/10 · 6 May 2005]

(This review contains some possible mild spoilers.)

One viewer, in his/her comments that I read before seeing this film, said in effect 'this movie gives indie films a bad name.' While I wouldn't go that far, and I DID find it entertaining, I also marvel at its needless, jarring non sequiturs in its story and many wasted opportunities to show character depth and development.

The plus side includes -- the scenery was beautiful and the camera captured that. I thought the casting was good and all played well what they had to work with. The young Bo (de Angelis) was a treat.

The married couple, Charlie and Arlene, non-drug using hippies, lived an almost idyllic Robinson Crusoe existence on the fringes of civilization. Arlene was part Native American in touch with many herbal remedies. Charlie was an excellent mechanic capable of building or fixing most anything. They home schooled their precocious daughter, Bo. The film is mainly a series of slice of life episodes when she was eleven.

On the minus side are the flaws, among them --

-- when a character becomes depressed, they fortunately come into possession of some unnamed anti-depressant pills. The film gives a surprisingly good, accurate enough demonstration of the type of reaction some people get when taking too high doses of anti-PSYCHOTIC meds, such as Haldol. But meds like Haldol are NOT anti-DEPRESSANTS and would not be used for the type of depression either the pills' original owner demonstrated -- or that the pills' taker had.

-- One character suddenly blossoms into being a professional artist whose paintings are in high demand -- with no indication of any previous professional training or artistic skill. Yes, Grandma Moses did that but she remained always a primitive and her paintings are obviously primitive (unmentored) art.

-- And a child with a credit card buys and has delivered a $20-25k Cape Dory 25 sailboat which, miraculously, turns out to be a helpful thing to have done. The sale of painting for $7k pays for it.

That's just a few of the many needless (IMO) bumps to continuity.

The director and screenwriter seem adept at having something suddenly happen to which people react but seem usually unconcerned about making the something that happens fit in logically.

But there's more to like than dislike in the film. I just wish the screenwriter and director had made the movie it could easily have been.

Nicely filmed given the drivel of a screenplay

[jmail-5 · 3/10 · 6 March 2004]

This story is the emotional equivalent of being set on fire, doused with icewater, poked with a needle, etc. It drives some emotion, but never with meaning or purpose. It is random sensations that never connect into a story that matters. There's no tale here.

People come, die, lock themselves in outhouses, garden naked, fall into love but you never know why. Then, with all the simple living, what seems to make things matter in the end is that a dead guy's painting sold for $150,000.

Drivel, pure drivel and nonsense.

The scenes of the high desert are gorgeous

So save the $$ and poke yourself with a needle, stick some ice down your shirt and go watch something meaningful on your DVD instead...

Simple character study beautifully realized

[napierslogs · 8/10 · 28 August 2010]

The great thing about "Off the Map" is how beautifully it tells its simple story. It's about a family, mother (Joan Allen), father (Sam Elliott) and daughter named Bo who live completely by their own means, and well off the main road. Having not paid taxes on the little bit of money they make, an IRS agent (Jim True-Frost) comes to find them.

It really is just a character study, primarily about the daughter as she watches the interactions of the adults around her and what she really wants out of life, and about the IRS agent who learns about himself by meeting these people who live their life in a way he never realized.

It's an independent drama driven by a simple narrative and simple shots. The characters aren't all investigated as they probably should have been, and it does move very slowly. But for those who like sitting back and just observing characters, "Off the Map" is well done. I was particularly impressed by Jim True-Frost's performance, and the young Valentina De Angelis as Bo.

Questions about Bo

[smidtg · 7/10 · 6 September 2010]

It IS a beautiful movie, and a refreshingly different kind of plot. I am only going to concentrate on the girl.

First, I have to ask, "Is this a true story?" because if it is, and she was like the girl portrayed, the rest of what I say will be pointless. But I have seen other movies where some child is given adult lines to deliver. Bo is shown as wise beyond her years. She wisecracks. Her mother seems to treat her like an equal. I found her an annoying brat. Getting a credit card and buying a large sailboat?? And not being punished for it? Come on. She doesn't ring true to any child I have known.

It is my opinion that such children show up so often in Hollywood movies because Hollywood types raise such children. They're too busy living the good life to take parenting seriously.

A Film of Dysfunctional Loosers

[AZINDN · 3/10 · 26 April 2007]

New Mexico has for the last hundred years drawn some of the most disparate and dysfunctional characters seeking to find themselves in the beauty of the landscape. All sympathy for the poor natives who must put up with these seekers of senselessness which is the basis of the film, Off The Map. Directed by the superb actor, Campbell Scott, this is the summer story of Bo, an 11 year old home-schooled, precocious, only child, her half-Hopi mother Arlene (Joan Allen as a Hopi???), her depressed dad, Charley (Sam Elliott), IRS agent, William Gibbs (William True-Frost), and George, her god father, all who surround the child with an alternative fantasy of cleaned up 70s hippie feel-good lifestyles sans drugs, that is somewhat Utopian and revisionist.

Moving like a stilted play moved out to the Taos landscape, this coming of age/lost in paradise episodic 3-act story has elements of theatre of the absurd mixed with All In The Family silliness couched in the ideas of back to the earth ideologies. When an IRS agent audits the family, he finds they don't live on cash but barter for everything and live in cast off clothing. Yet through some overt identity theft, the ever-annoying Bo steals sufficient information from the adults to qualify for a Master Charge card which allows her to purchase a sailboat delivered from San Diego in time to surprise her father for his birthday, and placing the family in further debt to the tune of over $4,000. No one seems to worry about the money, or lack of social skills the kid presents, or the fact that a federal employee has gone missing in the New Mexico countryside on per diem? Its all swept under the Navajo rugs in the name of picturesque alterity.

I'm sure this small indie film is meant to make for feel good family entertainment, however, on screen, it comes off just plain boring despite the fine cast. Watch for the landscape, and rambling ode to alternative family setting, but as entertainment, it was far from satisfying or noteworthy.