On the rocky path to sobriety after a life-changing accident, John Callahan discovers the healing power of art, willing his injured hands into drawing hilarious, often controversial cartoons, which bring him a new lease on life.
Set in Ireland during the Great Famine, the drama follows an Irish Ranger who has been fighting for the British Army abroad, as he abandons his post to reunite with his family. Despite ... See full summary »
The drug war on the U.S.-Mexico border has escalated as the cartels have begun trafficking terrorists across the US border. To fight the war, federal agent Matt Graver re-teams with the mercurial Alejandro.
Benicio Del Toro,
After the deaths of three children suspected to be killed by wolves, writer Russell Core is hired by the parents of a missing six-year-old boy to track down and locate their son in the Alaskan wilderness.
James Badge Dale
Will (Ben Foster) and his teenage daughter, Tom (Thomasin Harcourt McKenzie), have lived off the grid for years in the forests of Portland, Oregon. When their idyllic life is shattered, both are put into social services. After clashing with their new surroundings, Will and Tom set off on a harrowing journey back to their wild homeland. The film is directed by Debra Granik from a script adapted by Granik and Anne Rosellini.Written by
The last third of the story was filmed at Squaw Mountain Ranch, a family oriented nudist resort outside Estacada, Oregon. It's a former logging camp, and the film needed a location with old cabins and RVs. Some of the members were extras in the "Birthday Party" scene. Established in 1933, Squaw Mountain Ranch is the oldest nudist club west of the Mississippi. It is open year-round, with rooms to rent in their lodge. See more »
After the truck driver picks them up and is driving on a back road, he declares something like "we're now in Washington". They were clearly in the western half of the state (heavily forested), but it's not possible to go from Oregon to Washington in the western half without crossing the Columbia River, and they didn't go over a bridge. See more »
I don't have the same problem you have.
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Written by Kendra Smith, Bryan Norkunas, Alex Pfeffer (as Alex Peffer)
Performed by Kendra Smith and the Magician's Orchestra
Published by Northern Line Music (BMI) See more »
an engaging and touching tale that leaves a warm glow
Framing a story through the outlier's point of view is a self-reflective device that makes us to look at ourselves through the eyes of the marginalised other. It usually adopts a single perspective but Leave No Trace (2018) is as multi-layered as a Russian doll. Homelessness, poverty, single-parenting, post-traumatic stress disorder, and life off-the-grid are just some of the themes woven into this finely balanced film.
The ruggedly beautiful opening scenes show a father and daughter appearing to be camping in the wilderness. Silent but for the sound of nature, they forage, taste nature's bounty, and communicate by gesture. The father, Will (Ben Foster), is a war veteran with chronic PTSD and cannot stand the confinement of conventional accommodation. His teenage daughter, androgynously named Tom (Thomasin Harcourt McKenzie), has been raised by Will since infancy and is as adept at chess and reading literature as she is at hunting in the wild. They are close, sleep together for warmth, and the forest is their home. That is until a walker spots them and police are brought in.
Immediately applying labels like homeless and potential abusive relationship, the authorities subject them to the kind of interrogation that presumes the worst. When suspicion lifts, Will is praised for how well he has raised Tom but they are not permitted to return to their forest home. Social service accommodation is found, but Will soon flees again and Tom must follow. The cycle is repeated until the rapidly maturing Tom must face either a life running from Will's war torments or claim her independence, put down roots, and let him go.
This film works on all levels. The cinematography has a docu-drama feel, with hand-held camera-work that intimately observes the father and daughter bond. This is pitched perfectly because of the understated authenticity of performance by Foster and McKenzie. It must have been tempting to dramatize the veteran's trauma but here it is expressed entirely through Foster's eyes and silent stare. McKenzie consumes her role, emerging from the cocoon of adolescence to a butterfly, vibrant, caring, and grounded in self-belief. The dynamic between them is the scaffold that raises the story beyond expectations.
It would be challenging to find another film that could more appropriately carry the 'hybrid genre' label. Strands of adventure story, a coming of age tale, a road trip, and a drama, are all present but none dominate. Nor does the film offer an easy solution to helping people like Tom and Will. This is an engaging and touching tale that leaves a warm glow.
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