The daughter of a thief, young Moll is placed in the care of a nunnery after the execution of her mother. However, the actions of an abusive priest lead Moll to rebel as a teenager, ... See full summary »
A lawyer is asked to come to the police station to clear up a few loose ends in his witness report of a foul murder. This will only take ten minutes, they say, but it turns out to be one ... See full summary »
A geneticist takes his assistants to his old family home to locate the deadly product of his late mother's revolutionary research into rapid human evolution - his monstrous tentacled baby brother - before a mad scientist gets to him first.
David Allen Brooks
A meditation on love and its various incarnations, set within a community of friends in Oregon. and is described as an exploration of the magical, mysterious and sometimes painful incarnations of love.
The near future. Like tomorrow. In a world marked by closed borders, corporate warriors, and a global computer network, three strangers risk their lives to connect, break through the barriers of technology, and unseal their fates.
Luis Fernando Peña,
The film philosophical approach at redemption. The protagonist Manual Jordan has gotten parole from a life sentence for the murder of Abner Easley, and returns to the city he lived in to try to seek redemption. He ends up living and working at a community house run by a preacher, Miles Evans. The film is equipped with beautiful voice-overs about the meaning of life and different philosophies for getting redeemed. Manual also becomes friends with Adele Easley, his victims sister, in an attempt to make up for what he did. While working at the home he has interactions with Sofia Mellinger, the druggie daughter of a famous singer, struggling with the lack of adult guidance in her life.Written by
Although the film was shot entirely in Montreal, Quebec, in one of the final scenes, as Manuel has entered the Metro, and it is leaving the station, the map seen inside the train is, in fact, a map of the central Washington, D.C. area. See more »
During a scene at the soup kitchen, Miles wants help serving the soup and shoots a slice of bread at Manual to get his attention. The bread lands on Manual's tray next to his soup bowl. In the next shot, the slice of bread has disappeared. See more »
I read a book that was written in the 11th century. A man said that there was five steps toward making amends. The first involved acknowledging what you did. The second involved remorse. The third involved making right with your neighbor. Like if you stole his chicken, you'd have to go and bring him another. Only then were you able to go to step four, which was making it right with God. But it wasn't until step five that you could really get redeemed. It had to do with being at the same place ...
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Thanks to ... Terry & Siobhan ... Cynthia, Evan and Olivia ... See more »
If there is a common theme running through Billy Bob Thornton's dramatic roles, it would have to be a man's search for redemption. It can be found in SLING BLADE, A SIMPLE PLAN, THE MAN WHO WASN'T THERE, MONSTER'S BALL, THE BADGE, and again in LEVITY, the film directorial debut of screenwriter Ed Solomon. Unlike more 'commercial' actors, who would prefer playing innocent victims framed for crimes (or would be 'heroic' in committing 'justifiable' deeds), Thornton's characters are guilty of their trespasses, and accept their punishment as deserved. This gives his performances a sense of reality that is always interesting to watch.
In LEVITY, Thornton is Manual Jordan, a 'lifer' who has spent over twenty years in prison for shooting and killing a kid during a convenience store robbery, as a youth. The act was not a crime of passion, it was simply an involuntary reaction to a quizzical 'look' the kid gave him, an expression that would bond the two of them for years to come.
When a parole board decides to commute Jordan's sentence ("Why?" he asks, stunned by the decision after saying he was content to remain in prison), the middle-aged man finds himself alone in an alien, indifferent world, with only the kid's 'ghost' as company.
Jordan decides to try and help the victim's sister, Adele (the ageless Holly Hunter), without revealing his identity ("If you're trying to 'hit' on me," she quips, "I have to warn you, over the years, my standards have lowered..."). She has her hands full with a wild teenaged son, and can't quite figure out this taciturn, long-haired vagrant!
Answering a ringing pay phone, Jordan finds his way to a jaded lay minister (Morgan Freeman, excellent, as always), who, recognizing him as an ex-con, provides him with a place to stay, and a job, cleaning and directing teens from a dance club into the broken-down mission he runs, next door. When Jordan tells the old preacher that he doesn't believe in God, the old man snaps, "I'm not asking you to! I'm asking you to work!" One of the rowdy 'club' teens (Kirsten Dunst), the daughter of a 'one-hit wonder' singer on the skids, finds herself drawn to Jordan, despite his obvious disapproval of her lifestyle.
As with all the best 'indies', there is a richness of character in LEVITY, with each actor in top form. Subtly building to a surprising revelation and an emotional climax, the film may not appeal to audiences who prefer pyrotechnics to plot, but if you like movies with believable characters, and an involving story that unfolds at it's own pace, you may find it to be a very rewarding experience!
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