In March of 1990, two thieves dressed as Boston police officers gained entrance to the Isabella Stewart Gardner museum in Boston Massachusetts and successfully executed the largest art ... See full summary »
In the Golden Age of Piracy, at the dawn of the 18th century, Blackbeard stood out among the lawless rogues as the most fearsome and notorious seafarer of them all. He killed for the ... See full summary »
An emotional thriller based on the real life 2002 kidnapping of Baby Kahu Durie. New Zealand watched the anguish and courage of the parents and the calm forensic approach of the Police as they worked together to bring Baby Kahu home.
In the 1958 part of the story, Matthew refers to the car he drives as "the Rambler." In fact, the car is a 1958 model, which was a new body style, and the first Rambler model designed and built by American Motors Corporation as the Rambler Ambassador. All previous models to 1958 where Nash Ramblers (1950-1957) or Hudson Ramblers (1954-1957), which were the constituent companies merged in 1954 to form American Motors Corporation. See more »
When Matt goes to the diner later in the movie, Sally Ann is putting coffee pots on the warming plates. The coffee pots are the modern kind with brown top for regular, and an orange top for decaf. In 1958, most coffee pots would have been metal. And decaf if available was served in little orange packets called SANKA. See more »
Tom Adkins Sr.:
He has his mother's eyes. Her hair. My face, my laugh. First time I held him I knew he was my son. The best of me and his mother. I can still see his eyes light up watching those fireworks. I gave him everything a father can give a son. And now with all this searching, being a cop, being a father, I still can't find my boy.
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STOLEN is a small budget film that deals with a major problem - loss of a child by abduction and the desperate need to find that child despite the passage of many years. Writer Glenn Taranto and Director Anders Anderson present two cases of kidnapping and murder, space them fifty years apart and interconnect the two stories in a way that is both disturbing psychologically and confusing as a film. It works on many levels and the absence of information about motivation interferes with allowing this movie to be more powerful.
Ten years ago police officer Tom Adkins, Sr (Jon Hamm) left his only son Tom Jr. in a diner for a moment, only to return and find him missing. His abilities as a law enforcement officer and his guilt as a 'negligent' father erodes his life and his marriage to Barbara (Rhona Mitra): he is unable to give up the search for his missing son despite the ten years of absence, a factor that practically drives his marriage to divorce. A body is found in a box and Tom Sr immediately thinks it is his son, but investigation reveals that it is the body of a child that has been dead for fifty years. The film then begins a series of flashbacks to a story fifty years ago when a young father Matthew Wakefield (Josh Lucas), having lost all of his money and home and facing the resultant suicide of his wife decides he must place his three children with relatives: one son, John (Jimmy Bennett), is mentally challenged, and Matthew's relatives will only take the two 'normal' boys, leaving John to live with his unemployed father. Matthew finds a room for the two of them and begins works at a construction site, John tags along to be with his dad - a problem for the boss of the construction site. Matthew forms friends with Diploma (James Van Der Beek) and Swede (Holt McCallany), is diverted by a sexual liaison, and during that time John is abducted. We lose track of Matthew at this point, but jumping back to the present the discovered boy's body proves to be John Wakefield and this discovery consumes Tom Sr to uncover the murderer of the Wakefield boy, hoping that in some way it ties in with the disappearance of his own son. The plot becomes a bit murky at this point and a bit to 'rush to climax', but needless to say the murders are connected and Tom Sr and his wife are able to come to grips with the fact that Tom Jr is lost forever.
The film is shot in a a somewhat sepia color when dealing with the murder of fifty years ago and remains dusty appearing through the present - not unlike the soil that has hidden the uncovered truths so well. The acting is fine, with some very fine cameo appearances by Johanna Cassidy as Tom Sr.'s mother and Jessica Chastain and Rose Montgomery as the feminine influences. The makeup artists have done the film a disservice as they try to age people fifty years as the film winds down: to say more would be to give away the ending. But the reason the film works is the commitment behind relating these tragedies on the part of all concerned. It is especially noteworthy in that it is the work of a relatively inexperienced writer and director.
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