Shotgun Stories tracks a feud that erupts between two sets of half brothers following the death of their father. Set against the cotton fields and back roads of Southeast Arkansas, these ... See full summary »
In the twilight of the 1950s, on one fateful night in New Mexico, young switchboard operator Fay and charismatic radio DJ Everett discover a strange audio frequency that could change their small town and the future forever.
Gloria is an out-of-work party girl forced to leave her life in New York City and move back home. When reports surface that a giant creature is destroying Seoul, she gradually comes to the realization that she is somehow connected to this phenomenon.
Leaving small-town life in her dust, Adele moves wide-eyed to New York City, and her best friend Sara is stuck in their boring hometown. Separate for the first time in their lives, the film... See full summary »
Alton Meyer is a boy unlike any other in the world with bizarrely powerful abilities and strange weaknesses. In the middle of the night, his father, Roy, spirits him away from the isolated cult that practically worships him and is determined to regain him at all costs. At the same time, Alton's abilities have been noticed by the US government as well and they are equally insistent on getting to the bottom of this mystery with Paul Sevier of the National Security Agency leading the Federal pursuit with his own questions. These rival hunts force father and son into a desperate run towards a looming date with destiny that could change everything.Written by
Kenneth Chisholm (email@example.com)
On the first night, they're supposedly in hiding but they take a motel room adjacent to the motel office, and instead of waiting until dark, they leave at dusk in a car parked within easy view of the desk clerk when they could have parked right outside the door of their motel room. See more »
Is it too much to ask you to punch me in the face? No? Never mind.
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A Season in Waters
Written by Aaron Martin and Dag Rosenqvist
Performed by From the Mouth of the Sun
Courtesy of Experimedia Ltd. See more »
Terrific opening scene
Greetings again from the darkness. Austin-based filmmaker Jeff Nichols serves up some of the familiar themes of spiritualism and parenting seen in his first three films: Mud (2012), Take Shelter (2011), Shotgun Stories (2007), but this time he goes a bit heavier on the science fiction while maintaining his focus on the individual.
An exceptional opening scene kicks off the story, and Nichols makes sure we are alert by forcing us to absorb and assemble the slew of clues flying at us an Amber alert, cardboard on the windows of a cheap motel, a news report tying us to San Angelo, Texas, duct tape on the peep hole, a duffel bag of weapons, two anxiety-filled men, and a goggled-boy under a white sheet who seems extremely calm in an otherwise hectic environment. We learn a lot, yet many questions remain.
As the boy and the two men speed off down the backroads, the setting switches to an eerily calm Calvin Meyer (the always great Sam Shepard), who is the leader of a religious cult similar to the Branch Davidians. "The Ranch" is desperate to get the boy back, and we learn they worship the numbers and words the boy has "received" from above. An FBI agent (Paul Sparks) leads the raid on the compound and takes us to an interrogation of Calvin by NSA analyst Paul Sevier (Adam Driver).
Alternating between sci-fi special effects and an "on the run" story line, we slowly pick up more details about the boy Alton (Jaeden Lieberther), as well as the men with him – his father Roy (Michael Shannon) and Roy's childhood friend Lucas (Joel Edgerton). It's not long before they reunite with Alton's mother Sarah (Kirsten Dunst) and we really start to comprehend just how different and special Alton is.
It's easy to see the influence of such films as Starman, E.T.: The ExtraTerrestrial, Close Encounters of the Third Kind, and The Day the Earth Stood Still. We are reminded that our society inevitably assumes the worst when something we don't understand appears right in front of us. The Ranch sees the boy as a savior, and the government labels him a weapon. But it's Shannon who captures the protective determination of a father trying to do the right thing for his son. Shannon again flashes the best 'pained' expression in the business, but it's young Lieberther (so terrific in St. Vincent) who allows us to accept the father/son story in spite of the bright white lasers shooting from his eyeballs.
There are plenty of unanswered questions – not the least of which is, how did two "normal" parents end up with this "special" son? The visuals near the end are impressive to see on screen, but don't appear to have much impact on the final questioning of Lucas or our understanding of how it all happened. It should also be noted that the piano score is especially impactful during both the quiet and thrilling moments. Director Nichols is a talented idea man, but he does leave us wanting more details. (That's his brother singing the song over the closing credits.)
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