The Munns, father John and sons Chris and Tim, recede to the woods of rural Georgia. Their life together is forever changed with the arrival of Uncle Deel, though the tragedy that follows ... See full summary »
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Shotgun Stories tracks a feud that erupts between two sets of half brothers following the death of their father. Set against the cotton fields and back roads of Southeast Arkansas, these ... See full summary »
A mentally unstable Vietnam war veteran works as a nighttime taxi driver in New York City where the perceived decadence and sleaze feeds his urge to violently lash out, attempting to save a teenage prostitute in the process.
Robert De Niro,
The Munns, father John and sons Chris and Tim, recede to the woods of rural Georgia. Their life together is forever changed with the arrival of Uncle Deel, though the tragedy that follows forces troubled Chris to become a man. Written by
The United Artists logo seen in the opening credits of the film was from the company's archives. All the films released under United Artists at the time of Undertow's release had a different logo. As a child, director Green always saw that logo and was unsettled by it, and for that reason, he used it in the film. See more »
Near the end of the movie when Deel is choking Chris, Deel's hands alternate between being wrapped around Chris's neck and grabbing his face. See more »
Let me see your knife. Can I carve my name in your face?
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[at the start of the film] The following film was made with the assistance of the Drees County law enforcement agencies and the surviving family of John W. Munn. See more »
Intense, brooding, grimy this is the best film I've seen in a long time
Director David Gordon Green's critically acclaimed Undertow is a strange but gripping experience. I don't know any other film quite like this. We've seen the slow pacing build up tension in the plot before in films, but it's so much more than that in Undertow it's the pace of a family's life in the deep backwoods of Georgia and it it patiently lets us absorb everything. Maybe I was in a sensitive and impressionable frame of mind when I saw it, because I remember being so shaken and touched by this fare that its visuals and mood still haunt me.
But this patient, slow pace is the calm before the storm as it comes to an end when the brother of the father of the family comes to visit, newly released from prison. Josh Lucas is this brother, and he captures the shady nature of his character with effortless conviction. His presence is felt in scenes he is not even in. Upon arriving to the family, the film just takes a completely different turn and we follow the two brave kids in the family on the run in the south from their uncle.
This is further emphasized by attention-grabbing frames that freeze whenever intensity builds up. This may seem anti-climactic, but it's extremely effective and it makes the chase sequences very exciting and 1970s-influenced. So it essentially shifts between chase mode and (eerily) quiet South-paced calm in a genius way. If you like your films fast-paced and action-filled however, its brilliance may be lost on you but if you give it time, Undertow will surprise you as it's unpredictable, even in style. This is just how meticulously-crafted it is.
The film is grimy, dense, brooding and realistic and it zooms in on the deep necks of Georgia, featuring some gorgeously striking visuals, making you feel the dirt and heat of the deep south as if you were right there, breathing the murky warm air from the brown rivers. Some say Green's directing style is reminiscent of Terrence Malick (it is very visually-driven) but I don't think so rather it is an insult to the former; Green clearly knows what he's doing and lets nature visuals facilitate the story he tells, while Malick lets the story facilitate his pointless nature visuals.
I loved Undertow more every minute it progressed and am now prepared to give this film a 9 out 10. I also have it firmly stapled in my top 10 films of all time list and that is quite a feat for such a low-key dark horse.
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