Following the death of his wife Audrey, John Munn moves with his two sons, mid-teen Chris Munn and adolescent Tim Munn, to a pig farm in rural Drees County, Georgia, where they lead a ...
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A series of overlapping stories about four suburban families dealing with different maladies. Esther Gold's life is consumed by caring for her comatose son; Jim Train is sent into a ... See full summary »
Mary Kay Place
Two highway road workers spend the summer of 1988 away from their city lives. The isolated landscape becomes a place of misadventure as the men find themselves at odds with each other and the women they left behind.
A massage therapist looking to overcome her addictions and reconnect with her son, whose father is an anthropologist in South America studying the Yanomani people, moves in with a wealthy ex-client in New Jersey.
A family relocates from the city to a dilapidated house in the country that was once a grand estate. As they begin renovations, they discover their new home harbors a secret and may not be completely free of its former inhabitant.
After a blurred trauma over the summer, Melinda enters high school a selective mute. Struggling with school, friends, and family, she tells the dark tale of her experiences, and why she has chosen not to speak.
Following the death of his wife Audrey, John Munn moves with his two sons, mid-teen Chris Munn and adolescent Tim Munn, to a pig farm in rural Drees County, Georgia, where they lead a reclusive life. The boys' maternal grandparents no longer visit due to being out of sorts with John. Chris is rebelling against this life in ways where he is regularly picked up by the police. Because of Tim's young age and health issues, Chris is routinely asked by their father to do more than his fair share of work around the farm. Into their lives returns Deel Munn, John's brother who the two boys did not even know existed. John emotionally distanced himself from Deel following Audrey's death and Deel's incarceration, Deel who has just been released from prison. John, however, welcomes his brother in a effort to mend old wounds, and for the boys to get to know one of their few relations. They will all soon learn that Deel has ulterior motives for his visit, those motives emerging largely from those ... Written by
Chris and Tim start down the staircase to escape the house,
Tim has a backpack slung over his left shoulder. The backpack is gone when they reach the bottom of the steps. Later, when they run up to their room, Chris packs some items in the backpack that is lying on the bed. See more »
I never dreamed that the life of my grandsons, which began with such love and comfort, would turn to see so much violence and bloodshed. This is their story as it was told to me.
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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 »
Taking a pop-culture icon and flipping it on its head is a favorite pastime of young film directors. In 1986 David Lynch took his boy-scout memories and essentially, in his own words, sent "The Hardy Boys" to hell with "Blue Velvet." Likewise, with a bit of Terrance Malick inspired poeticism, director David Gordon Green sends the good old Duke Boys to hell with "Undertow." Josh Lucas is effectively menacing in a "Night of the Hunter" kind of way as the recently released from prison brother of the stoic Dermot Mulroney, who has secluded himself and his two sons from the rest of the world on a hog farm following the death of his wife (whom was previously involved with Lucas' character). Some family folklore involving a hidden stash of gold coins sends Lucas' ex-con on a rampage that ends with the tracking of the young brothers on the run through rural American Gothic hell on earth. There's a lot to fault in a film like this, but also a lot to treasure if you give it the time. Jamie Bell and Devon Alan as the two brothers are very convincing and easy to route for, and some directorial flourishes from Green and nice character acting from Lucas keep the film fresh and original even as it channels past classics from Malick ("Badlands"), Lynch ("Blue Velvet"), and the "Night of the Hunter." There's also a score from my favorite minimalist composer Philip Glass. All in all, not a bad way for a film buff to spend their evening.
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