Diane fills her days helping others and desperately attempting to bond with her drug-addicted son. As these pieces of her existence begin to fade, she finds herself confronting memories she'd sooner forget than face.
A married couple is forced to reckon with their idealized image of their son, adopted from war-torn Eritrea, after an alarming discovery by a devoted high school teacher threatens his status as an all-star student.
In this freewheeling comedy, medical transport driver Vic risks his job to shuttle a group of rowdy seniors and a Russian boxer to a funeral, dragging clients like Tracy, a young woman with ALS, along for the ride.
Lauren 'Lolo' Spencer,
During the marijuana bonanza, a violent decade that saw the origins of drug trafficking in Colombia, Rapayet and his indigenous family get involved in a war to control the business that ends up destroying their lives and their culture.
In the movie The character Tom was playing by Thomas Smittle who participated in the actual program that the movie is based on. Thomas was in the program from 2009-2011 and had the top selling horse in the history of the program a red roan gelding that sold for $8500.00. See more »
At the auction in the film, it's stated a horse is sold to the "Las Vegas Police Department." There is no such organization; Vegas' police force is known as the "Las Vegas Metropolitan Police Department" (LVMPD for short). See more »
Triumphs of the human spirit constitute perhaps cinema's most enduring story material, and this French film shot in Nevada brings a powerful existentialist message to the viewer without the preachiness one might expect of an American movie on the subject.
Matthias Schoenaerts, his shaven head and rock-solid physique suggesting a Vin Diesel, is magnificent in the lead role, a convict without hope or direction paralleled with the title wild horse he's tasked to train for sale to police departments or ranchers in a prison program run by craggy old Bruce Dern. Connie Britton makes the most of her two scenes as a prison psychologist working on rehabilitation.
Most of the cast is non-pro, actual prisoners from such a program giving solid performances for debuting feature director Laure de Clermont-Tonnerre. Echoes of "The Myth of Sysiphus" and other existential writings underpin the action, but Laure carefully makes it a visual cinematic experience, not one of those 1950s Playhouse 90 classics from TV's Golden Age. Free of sentimentalism, it also keeps the melodramatic subplot involving chicanery and violence in prison to an absolute minimum, and is a wholly satisfying movie with universal appeal.
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