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Ricky Brown (Ryan Kwanten) is a high school youth in Texas who knows nothing about the outside world for his was raised his entire life to follow the West Texas tradition of playing football on the gridiron. Ricky desperately tries to find a direction with his life as well as try to shake off the troubled memory of his older brother's recent death in order to avoid the pressure of him to play as his school's top star. Fleeing from the pressures of his small town as well as his mother (Karen Black), Ricky travels to New York City where he shacks up with his former mentor John Cross (Hill Harper), who is now a Catholic priest of a small church. Ricky also meets Vera (Natasha Lyonne) a free-spirited young woman who works as a diner waitress who he hopes to help him find direction. At the same time, Ricky also becomes acquainted with Rosie (Élodie Bouchez) a young Frenchwoman who has a "special relationship" with John that may have lasting consequences for John and Rosie. Written by
OK, maybe that's a bit harsh to compare this to brown (toilet) water, but this really is a tedious little film masquerading as serious Americana/Indie movie-making. It doesn't contain one memorable image or one memorable piece of dialogue. In fact, it is instantly forgettable.
America Brown (sic) is a stetson wearing Texan boy who charms in a Jon Voigt-Lite way as he runs away from his ranch home to the Big Apple in search of his hero, an ex-football star from college and to find the answers to his brother's recent death (ooh, wonder how that happened???). His hero is now a priest hiding an illicit affair with Elodie Bouchez who gets to say things like 'Quoi' and 'Bon Chance' because she's French you know (yawn) but unfortunately she's as wooden as a stale baguette. Brown then falls for the scary charms of vampiric waitress Natasha Lyonne, all white skin, garish red lips and ginger hair. How many times are filmmakers going to write about drifters coming into a new town and instantly finding a girlfriend at their first port of call.
Like I said, its all very dull, shot with zero-flair like a TV Soap and edited with annoying and deeply dated jump-cuts to raise the slightest tension. Director Paul Black apparently took the best part of a decade to write this. That doesn't tell us that he's dedicated, it tells us that this man cannot write, because there is nothing taxing here that could not be knocked out in 6 weeks. By its end, you don't care about any of the characters. And you forget about them in a heartbeat.
2 out of 10 - 1 for Natasha Lyonne who is always watchable and 1 for Karen Black because she once used to work on scripts like Five Easy Pieces and she must despair getting something like this now.
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