Lost River

Most famous actors rely heavily on the production team during their directorial debuts and aren't very involved in the directing process. Last year, Angelina Jolie truly proved this with her movie Unbroken (actually her second film as a director though). A high budget WW2 film that Jolie clearly didn't put much effort into. It feels like the whole idea was just given to her when she called her agent and stated that she would like to direct a new movie. It is also not uncommon to see actors casting themselves in their directorial debuts, such as Zach Braff in Garden State. Lost River, is the weirdest directorial debut you'll ever see from an actor.

I've always liked Ryan Gosling. He picks his movies carefully and works great with "different" directors like Nicolas Winding Refn and Derek Cianfrance. Lost River is probably the strangest film in recent years. It is hard to explain what it is about so I'm not going to talk about that in this review.

The movie is very similar to most David Lynch films, especially Mulholland Drive. Therefore, one of the best things about Lost River is actually the cinematography, it helps to create the mysterious experience. I'm a very big fan of thrillers which don't explain everything to the viewer, but I know most people aren't. And that's why many will dislike this movie for what it is. With that being said, if you hate to re-watch films and want simple story lines, Lost River is not what you should be watching.

I really appreciate all the effort Ryan Gosling has put into this movie. It is risky to make a film like Lost River these days, and I'm glad Gosling was willing to take that risk to show his trademark. It is notable that he actually made the movie himself and didn't rely on the producers. Fans of David Lynch, Nicolas Winding Refn and David Cronenberg will surely have a good time with Lost River. I'm looking forward to Gosling's next feature, and can't wait to re-watch this film.

Ryan Gosling wrote and directed a fine first film, a tale about ordinary people surrounded by myth and decay, in an almost abandoned town in Michigan. However, the movie was submitted to the wrong film festival: you know, Cannes means tough competition and the French can be haughty. With the tone of an apocalyptic fable, «Lost River» would have been more appreciated in specialized events, as the fantasy film festivals celebrated in Porto, Neuchâtel, Brussels, Málaga, Roma, Amsterdam, Gérardmer, Puchon, Austin or Buenos Aires. «Lost River» strongly belongs in those festivals and it could have been awarded with several prizes: first work by a new director, for its cinematography, screenplay, or for a couple of good performances. Handled by Warner Brothers, the company did not know what to do with this motion picture, so it considered "selling the distribution rights to another company" and finally decided to limit its exposure to on- demand exhibitions. Or simply put: it just decided to kill it.

«Lost River» belongs to a special lineage of American films that portrait people and places of the United States that are often ignored or mistreated in mainstream cinema by filmmakers without any compassion or understanding of their situation: see how Alan Parker portrayed poverty in Mississippi, with a "chic touch" in the deplorable «Angel Heart». I refer to a lineage as old as King Vidor's «Street Scene», to Robert Altman's «Thieves Like Us», David Lynch's «Blue Velvet», Michael Moore's «Roger & Me», and many other independent films that came to my mind, as Harmony Korine's «Gummo», Jeff Nichols' «Mud», Daniel Patrick Carbone's «Hide Your Smiling Faces» and Kat Candler's «Hellion».

As an individual of these times, Gosling was audio-visually formed from watching television and films since childhood, so he wrote a fragmented script, but it does have a linear Aristotelian plot with well-defined three acts, precise plot points, a satisfying resolution and well-structured (and a few fascinating) characters. In the story a single mother (Christina Hendricks) tries to save her childhood home and keep her little family united (she and her two sons) in the dying town of Lost River. To do so she takes a job offer from a bank manager (Ben Mendelsohn) in a night club from hell, where the main attraction (Eva Mendes) dances to "Moliendo café" as sung by Lucho Gatica, to be suddenly beaten and killed by a hoodlum and spread her blood on the audience (all as part of the show). In this way the mother enters a sordid and morbid sector of society (imagine that all clients are Dennis Hoppers from «Blue Velvet» times 50, plus the naked and masked bourgeoisie of «Eyes Wide Shut»).

Simultaneously her adolescent son (Iain de Caestecker) tries to help her by extracting and selling pieces of copper found in derelict buildings, which are claimed by a psychopath (Matt Smith) who controls what is left of the town. As he runs from the guy, the boy incidentally discovers a submerged town in a lake, and his girlfriend neighbor (Saoirse Ronan) tells him that her grandmother (Barbara Steele) --who decided to remain silent when her husband died-- predicted that the day someone brings a fragment of the lost town to the surface, Lost River will be freed from a curse.

Although what is being told is very violent in spirit (and overtly so in some scenes), Gosling moved his story with a smooth and gentle pace, unfolding the tale in a calm manner, rarely unaltered, which brings me to my only objection, a factor that did alter this tone of serenity: the music score by Johnny Jewel. Not because it is bad music, but for being unnecessary in most of the cases. This is not only a problem in Gosling's film, but in almost all movies, especially in American productions. Filmmakers seem to mistrust the power of the images they create and allow composers, editors and sound crew to overemphasize what is obvious. Besides Jewel's cues are too short and have a spasmodic effect: they accentuate a phrase, an expression, an action, and then fade until the next reaction. But fortunately the film transcends this limitation.

As you watch «Lost River», it is true that you may remember one or two works from Lynch or Nicolas Winding Refn, but I do not see the point of making a fuss about this, when all filmmakers, from Woody Allen to Brian De Palma, show their influences and no one complains. They are even exalted because of copying Ingmar Bergman or Alfred Hitchcock. This said, as a whole «Lost River» is a satisfying motion picture, with good performances by all: even in a silento role Barbara Steele is remarkable. Forget what some say about «Lost River» and watch it. You will like it.

Few indie films of late have more effectively captured the inescapable, haunting truth of urban decay in a narrative capacity the way 'Lost River' does. We may hear about it in the news, or occasionally see glimpses of it via online write-ups but are we really getting the whole story? Still, Lost River's eerie tale of a young man and his mother's desperate attempt to hold onto their rapidly decaying home gets under your skin. It's not the kind of story everyone will enjoy, some frankly won't have the stomach for it. Despite it sporting a supremely well written and directed script by Ryan Gosling - with visuals and cinematography that are breathtaking, hypnotic and cryptically gorgeous. The fact that corporate greed is literally wiping out entire towns across the United States is a reality some are just not going to be interested in, but that might be this film's central conceit.

The American Dream is slowly but surely turning into a sad, and devolved nightmare - governed by 'dark subcultures' which seem to be gaining momentum while murder, mass genocide, chaos and destruction continue to reign supreme. This is what's at the twisted heart of 'Lost River.' It also beautifully pays homage to Argento, Bava, Lynch, Tarkovsky and more. Some might feel inclined to make accusations that name actors like Barbara Steele are grossly underused. That may or may not be true, but I'd wager those folks are missing the point. If you're looking for a supremely bizarre, heady, visually striking foray into what some folks will do to hold onto their own little status-quos then this film is not to be missed.

Warner Brothers is one of the best movie studios in the business. Putting out controversial movies such as, A Clockwork Orange, Natural Born Killers & One Eight Seven, it's clear that this is a studio that likes to takes risks with films. They prove it yet again with the directorial debut of Hollywood heartthrob, Ryan Gosling's art house flick, Lost River. I'll start by saying this about the film; it is absolutely gorgeous to look at. Gosling has an eye for camera placement and style, taking a page out of the David Lynch School of directing. Unfortunately that's where the praise stops, as this is one boring and rather pointless movie. The story centers on a single mom played by Christina Hendricks, (Mad Men) who lives in a virtually abandoned city of Lost River, with her two kids, one of which has run afoul of the local gangster played by Matt Smith. (Dr. Who) A Gangster so mean that it's widely know throughout the community his love for cutting off peoples lips who cross him. In the end it's clear that Gosling wants to shed his pretty boy persona and come across as more intellectual and thoughtful. Hopefully the next time he decides to get behind the camera he has a better script to film.

Beware, this movie is quite dark and disturbing. It has a certain Terry Gilliam feel about it, although it goes deeper and touches the dark bottom of your soul. It is beautifully shot, has a constant subtle tension and very good music. Although the story is rather predictable it reminded me of the greatest epic tales of mankind.

Very rich and creative debut. Good actors and superb camera work, settings and effects.

The movie feels like a true nightmare sometimes, don't be fooled, though - it is not a classical horror movie or thriller. It is more like a dark dream put onto celluloid. You see lots of blood and some violence, still it will not work for typical fans of guts and gore movies.

Real cinema.