It's the turn of the century and jobs are hard to find. A young man assigns himself the job of a store clerk, without pay... only a place to sleep and eat... after he was manipulated by a ... See full summary »
This gritty drama follows two high school acquaintances, Hancock, a basketball star, and Danny, a geek turned drifter, after they graduate. The first film commissioned by the Sundance Film ... See full summary »
A heart problem forces the cop Pally to retire, and his wife Charlotte is separating him. Charlotte makes Pally's half-brother Ray visit, and he suggest buying a race horse will cheer him up. He does, but then a mob boss steals the horse.
A Roman Catholic teenage boy in Nova Scotia during the 1930s faces various growing-up problems: Should he become a priest? What should he do about the murder he witnessed, committed by a local cop and upstanding parishioner? And how far should he go with his girl friend, who happens to be the murderer's daughter?Written by
Paul Emmons <firstname.lastname@example.org>
When Sutherland witnesses the murder, it can be clearly seen, though in shadow, that the murder weapon is a revolver. Later however, when Sutherland is shown the murder weapon in the police station, the weapon is a semi-automatic, and not a revolver. See more »
"The Bay Boy" was clearly a labor of love for writer/director Daniel Petrie. In all his long, successful directorial career ("A Raisin in the Sun", "Fort Apache the Bronx", "Resurrection"), this is his sole writing credit. The film takes place exactly where Petrie himself grew up - Glace Bay, Nova Scotia - on the island of Cape Breton. But, for all the personal identity and local talent involved, it's not nearly as good of a film as some others made on the island like "Margaret's Museum" and "New Waterford Girl". The thing that holds back the story here is Petrie's filmmaking approach. The soundtrack constantly intrudes with out-of-place music, and the acting is too often directed toward an older style approach. It's well-made, yes, just not nearly as convincing as it might have been.
For such a totally obscure film, there are a couple of recognizable faces. Liv Ullmann and Kiefer Sutherland (in his second role) are the core of the story here, an exploration of the complexities of the mother/son relationship. Another Nova Scotian actor, Peter Donat, has a less noticeable role as the father. In the end, "The Bay Boy" would have been much better served by a more realist, quiet approach. Daniel Petrie seems intent on filming his story as if it were a 1930s movie, which tends to keep everything at a distance. There's a lot of feeling put into it, a lot of talent. But it just doesn't come out quite right. I got something from it, just not nearly enough.
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