Quebec Bill Bohomme is a hardy schemer and dreamer, who, desperate to raise money to preserve his endangered herd through the rapidly approaching winter, resorts to whiskey-smuggling, a ...
See full summary »
'Northern Borders' tells the story of ten year-old Austen Kittredge who is sent by his father to live on his grandparents' Vermont farm, where he experiences wild adventures and uncovers ... See full summary »
After serving 10 years for killing her lover Marco, Annie regains custody of her daughter, but the girl wants nothing to do with her. Desperate and haunted by memories of Marco, Annie sinks into growing confusion between past and present. Surprises await when she returns to the island where the murder took place.
"Good Grief" is the story of Jack Hinkler, an average high school junior in search of love. When Butch, a fat dumb bully, jokes about Jack's mom, Jack lies and says that his parents are ... See full summary »
Arvel Chappell III
Richard Harrison has a loving wife, a reliable job and two typically rambunctious teenagers. He is currently experiencing a crisis. A midlife crisis. He's hit The Big 4-0 and his life has ... See full summary »
Montreal, 1959. In the classroom of Sister Cecilia, Leonie (aged 11) first met Father Malachy, a young Dominican father who has come to visit his school. It is love at first sight for this ... See full summary »
Victor Andres Turgeon-Trelles
Quebec Bill Bohomme is a hardy schemer and dreamer, who, desperate to raise money to preserve his endangered herd through the rapidly approaching winter, resorts to whiskey-smuggling, a traditional family occupation. Quebec Bill takes his son, Wild Bill, on the journey. Also Henry Coville, an inscrutable whiskey smuggler, and Rat Kinneson, Quebec Bill's perpetually disconsolate ex-con hired man. Together, they cross the border into vast reaches of Canadian wilderness for an unforgettable four days "full of terror, full of wonder." Written by
William Sanderson also played a smuggler (a Southern moonshiner) in Coal Miner's Daughter. See more »
Between 9 and ten minutes into the film (as Coville is asking the other 2 men if they want to purchase a 'fast car'), if you look in the background, you can see modern day vehicles going down the street - despite the film being set in the early 1930s. See more »
Remember you cannot possess land any more than you can possess another person. We dispossess ourselves through possessions. Never regard the ordinary without perceiving in it the extraordinary. Mine and yours; mine not yours; earth endures.
See more »
What a delight! In a market where we excuse bad scripts and flat characters for a dozen more explosions, dazzling special effects, and everything else twenty million dollars can buy, I love Disappearances for its charm, its clever script handled by a well-appointed cast, and its beautiful photography.
The movie is thoroughly rural. Like the countryside where it was produced, it unfolds itself slowly but magnificently. Do not expect to find your heart in your throat for two hours, followed by a climactic and tidy resolution to the cosmos. Disappearances tells a story of father and son, and it is rightly more of a process than a particular event. In that regard, the plot development is stylistically more similar to eastern European cinema than it is to its American peers.
With only a couple hitches (some characters are more prop than talent), Disappearances' strong symbiosis of script and talent is the film's greatest offering. The superb synergy of Farmer and McDermott with the others, the perfect casting of Sanderson to character, and a good performance by Kristofferson, have me pinching myself at times to remember these people aren't actually family. Disappearances ventures further, or more believably, into the psychology of its main characters than many American films dare go.
That Jay Craven was ambitious with his budget shows at times during Disappearances, but it becomes more of a mark of honor than a detractor. This film is the antithesis to the contemporary action blockbuster. The film moves slowly at times, and the action is not always plausible, but the characters are for the most part enchanting. Besides, our suspension of disbelief in the cinema is an aesthetic choice above all, and I appreciate the way Disappearances, in its fusion of magic realism and frontier, challenges me to look at movies anew.
8 of 10 people found this review helpful.
Was this review helpful to you?