I happened to see this at my local library and, generally liking John Cusack even in lesser properties (really, "2012" takes the big-dumb-blockbuster movie template to a ridiculous level, but it's still watchable in part because of oddballs like Cusack and Woody H.), thought I'd give it a try even though it sounded a tad more somber than what I was in the mood for. I'm glad I watched it. I like 'road movies,' anyway, and this one is built around that classic structure, but there's a lot more said in this film than is actually SAID.
A perusal of comments regarding this film reveals the not surprising ability of _Moron americanus_ to totally miss the point, in this case that group being divided about equally into people who bemoan the fact that every facet of the film was not laid out for them and explained at length, undoubtedly using small words, and those who in true knee-jerk manner decry the whole as 'liberal' propaganda or anti-American, whatever THAT is supposed to mean in today's USA. The first criticism stems, I think, from the film being one that includes some relatively subtle and quite realistic (i.e., not always making narrative sense) aspects to the storyline and the characters' journeys. The second criticism is, predictably, totally off target. This film has no political agenda, at least not one that's going to hit any sane person over the head. The main character's brother gets in a few jibes about the Bush Jr maladministration but he's not without flaws himself and his more hawkish, neocon-enabling brother is similarly not devoid of sense or perspective. The actor and citizen John Cusack IS one of the people who, like me, sees the whole Iraq fiasco as not just flawed from the start but massively criminal (not at the level of those sent abroad to prosecute the war but at the level of the chickenhawks in DC and elsewhere who blithely sent them) but, to his and the film's credit, his character in this piece does not have some sudden epiphany at film's end and start wearing Birkenstocks and sipping lattes.
The bottom line, to my mind, is that in this film the tragedy at the story's core happens to be one with military context but that, when it comes down to it, the very touching and well-presented (cutting to the music was a good touch) beach scene near the end could be ANY situation wherein a parent is telling his or her children that the other parent has died. That's what I felt, anyway, that the film was far more universally relevant and that particular scene universally applicable; to me, that's what made it even more sad, thinking of how many millions of people over the years, around the world, have had moments like that.
The acting is perfect. The two kids are excellent in what, so far, remains the sole film role for each. John Cusack is great, too, not only playing against type to a degree but playing his part completely convincingly. And when I saw the music was by Clint Eastwood I, of course, immediately wondered "THE Clint Eastwood?" -- his music is fitting and used very effectively. A talented man, is old Clint.
A perusal of comments regarding this film reveals the not surprising ability of _Moron americanus_ to totally miss the point, in this case that group being divided about equally into people who bemoan the fact that every facet of the film was not laid out for them and explained at length, undoubtedly using small words, and those who in true knee-jerk manner decry the whole as 'liberal' propaganda or anti-American, whatever THAT is supposed to mean in today's USA. The first criticism stems, I think, from the film being one that includes some relatively subtle and quite realistic (i.e., not always making narrative sense) aspects to the storyline and the characters' journeys. The second criticism is, predictably, totally off target. This film has no political agenda, at least not one that's going to hit any sane person over the head. The main character's brother gets in a few jibes about the Bush Jr maladministration but he's not without flaws himself and his more hawkish, neocon-enabling brother is similarly not devoid of sense or perspective. The actor and citizen John Cusack IS one of the people who, like me, sees the whole Iraq fiasco as not just flawed from the start but massively criminal (not at the level of those sent abroad to prosecute the war but at the level of the chickenhawks in DC and elsewhere who blithely sent them) but, to his and the film's credit, his character in this piece does not have some sudden epiphany at film's end and start wearing Birkenstocks and sipping lattes.
The bottom line, to my mind, is that in this film the tragedy at the story's core happens to be one with military context but that, when it comes down to it, the very touching and well-presented (cutting to the music was a good touch) beach scene near the end could be ANY situation wherein a parent is telling his or her children that the other parent has died. That's what I felt, anyway, that the film was far more universally relevant and that particular scene universally applicable; to me, that's what made it even more sad, thinking of how many millions of people over the years, around the world, have had moments like that.
The acting is perfect. The two kids are excellent in what, so far, remains the sole film role for each. John Cusack is great, too, not only playing against type to a degree but playing his part completely convincingly. And when I saw the music was by Clint Eastwood I, of course, immediately wondered "THE Clint Eastwood?" -- his music is fitting and used very effectively. A talented man, is old Clint.