An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African-American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis.
Bryce Dallas Howard
Annabel is a terminally ill cancer patient and is quietly awaiting her death spending her time studying nature. Enoch is struggling to recover from the death of his parents and spends his time attending funerals with his only friend - a ghost named Hiroshi who was a WWII Japanese kamikaze pilot. Just as Annabel's sister is trying to cope with Annabel's impending death, Annabel and Enoch fall in love. They both finally have a reason to live, but is it too late to have a life together? Written by
A Febiofest screening, nothing signposts that 3 years after multi-Ocsar nominated (including 2 wins) MILK (2008), Gus Van Sant will cook such a cancer-ridden romantic flick grappling with a soul-healing recovery of a parents-bereaved boy after his short relationship with a dying girl although death has been a persistent topic all through his omnibus.
The over-simplified structure may impede Gus from a more spacious platform to perform his mastery, and precipitating an out-and-out snub from all sorts of awards consideration and the disastrous box-office turnover is fatal to destroy its investor's confidence, a total domestic grosses of $164,000 versus its $8 million production budget, which is a far cry not only from MILK, but also much lesser than its indie-alike PARANOID PARK ($490,000), signals that only Van Sant's loyal zealots showed their precious appearances in the cinema. Although smaller the scale, the film still holds steady its stunning visual mode, with bountiful layers of spiritual remedies to cure any scarred heart.
Plot-wise, there are nothing really popped-out, only the Japanese ghost-friend deployment has its exquisite enchantment and exotic luster, but is far from sheer original, which also coincides the film's suffering from the paucity of a one-of-a-kind uniqueness once one can notice among Van Sant's better works (say, ELEPHANT 2003, GOOD WILL HUNTING 1997, and MY OWN PRIVATE IDAHO 1991), the story tends to be more lachrymose while marching on the unavoidable finale.
The two leads are basically serviceable, the tenderfoot Henry Hopper, who had just lost his father Dennis Hopper (1936-2010), is inappropriately in time for the role, handsome boys are never amiss in Van Sant's work. By contrast, a burgeoning Mia Wasikowska is the main magnetism on-screen, a product only cannot be stemmed from fiction as it's too ideal to be real.
Personally the film pleased me in a gently soothing method, but it is Van Sant in its very comfort zone without challenging too much of himself.
5 of 6 people found this review helpful.
Was this review helpful to you?