A fictionalized account of the first major successful sexual harassment case in the United States -- Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit.
A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
Landscape gardener Jim Winters is a quiet craftsman, a soft-spoken man who prefers an orderly life. His family, however, is anything but orderly. Older son Gabe is planning his escape to Florida, leaving behind any shot at a stable future with his girlfriend. Younger son Pete has retreated into a private world of anger, drift and disappointment. Jim struggles watching his sons make choices he views as disastrous compromises. It is only when he meets his new neighbor, Molly, that Jim finds a way to deal with his own life and his family's future. Written by
Sujit R. Varma
In Peter's math class, his teacher says that the students will need to know the quadratic formula to pass the regents exam. Regents exams are only given in New York State, and not in New Jersey, where the film is set. See more »
Sunset Soon Forgotten
Written by Sam Beam
Performed by Iron & Wine (as Iron and Wine)
Published by Sam Beam (BMI)
Courtesy of Sub Pop Records See more »
Sweet Meditation on A Family of Guys Without A Mother
"Winter Solstice" is a quiet, almost all-male counterpart to "Imaginary Heroes," dealing with the same theme of family grief, and was even filmed in the same town of Glen Ridge, NJ.
Debut writer/director Josh Sternfeld perfectly captures the inarticulatelessness of working class guys, particularly in father/son and brother/brother interactions.
Anthony LaPaglia as the landscaper dad and Aaron Stanford as his restless older son add to the minimal script with on screen charisma. It's sweetly charming how absolutely clueless they are in their lack of communication with the women who are attracted to them, but Allison Janney and Michelle Monaghan are overly understanding minor characters in their intersections with the dad and older son, respectively. I presume this is to emphasize the hole in their lives caused by the absence of the mother.
The problem is that without either more intervention by the women or the alcoholic violence of Sam Shephard's male family explorations, authentic looking and sounding guys hanging out together don't do very much or resolve issues. Pretty much the only plot point is the older son's gradual decision to leave --though I was surprised he has LPs to pack up--and how the other characters react to that.
It was nice to see Brendan Sexton again, more filled out, but he looked distractingly like the younger son played by Mark Webber so that I was confused at first that he was the best friend not the brother.
John Leventhal's intricate guitar playing on his original score is almost distractingly good. The song selections are beautiful sounding, though not particularly illustrative.
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