(2012) Drama (EntertainmentOne) Melanie Lynskey, Brian Doyle-Murray, Nicola Peltz, Campbell Scott, Jose Zuniga, Gregory Cruz, Grant Collins, Wendi Motte, Joyce Guy, Colin Ford, Eddie Bowz, Andrew Wilson Williams, Ben Sabet, Christopher James Forrest, Julie Ann Dinneweth. Directed by Jesse Wolfe
What happens during a natural disaster is sometimes not nearly as devastating as what happens in its aftermath. Sometimes the worst part of picking up the pieces is realizing that the pieces will never be reassembled in quite the same way ever again.
A small town in Florida has been hit by a devastating hurricane and stands in ruins. Electricity and water are out and most of the residents live in a tent city. Amelia Kyte (Lynskey) is in a state of shock; her husband, who flies a hurricane hunter for the Air Force, hasn’t returned and she holds vigil at the local base (which itself was severely damaged in the storm) until she gets some news, which isn’t forthcoming. In fact, she isn’t even allowed on the base nor will anyone in charge talk to her about the fate of her husband, or whether he is alive or dead or even missing.
She is far too involved in her own grief to pay much attention to her children; 16-year-old Renee (Peltz) who is forced to fill out forms and watch out for her little brother, 9-year-old Homer (Collins) who lost his eye in the storm. Homer is sure that if they find the missing eye that it can be put back in his head no harm no foul. To this end he enlists Abby Nelson (Motte), his best friend and maybe the toughest girl in town.
A local fisherman, Bill Folsom (Scott), is trying to extract his boat out of the water where it is blocking the ramp, irking other fishermen who know that the ramp is needed for the crane they’ve hired to pull their own boats out of the water as well. Bill is sweet on Amelia and has been for a long time. He keeps watch on Homer as much as he can, but has a tendency to do and say the wrong thing – like telling Homer tales about the Seminole (Cruz), a local figure reputed to have magical powers. Eventually, Homer gets it into his head that the Seminole might be able to use his magic to help find Homer’s eye.
Bill is trying to work some magic of his own, spending nights and what’s left of his cash to repair Amelia’s house and making it livable again so that maybe he could move in there with her sometime down the line. In the meantime, Renee has fallen for a married relief worker (Zuniga) and is frustrated and fed off with her mom who is completely self-absorbed. By the time word finally comes through and Amelia re-joins the land of the living, it may well be too late to repair the rift that has grown between her and her daughter – or to save her son, whose own obsession has led him to attempt something incredibly dangerous.
I really wanted to like this movie; the premise is intriguing and there are some solid performers in the cast. Unfortunately, there are also a whole lot of logical lapses. For one thing, no military base – even one that’s compromised as this one was – is going to allow the wife of one of their own to sit outside their gates wondering if her husband is dead or alive. They would at least give her some information and if not, assign someone to help her family out. They wouldn’t just leave her hanging like that.
And FEMA be damned, the Red Cross wouldn’t have one or two case workers to handle a tent city like that. A place like that would be swarming with personnel and there’d be evidence of electrical workers trying to restore power. Here the town is left pretty much left forgotten and yet it’s possible to drive to Miami where there are lights, bars that are open and serving beer to minors. I’m not sure if the filmmakers knew the legal drinking age here is 21, but they depict beer being served to people clearly identified as 16 years old without being carded. No bar is going to risk their liquor license like that.
Those are just the few off the top of my head but you get the drift. Little things like that annoy me, I have to admit. What’s worse is that the juvenile actors cast in the parts of Abby and Homer don’t come off as being real kids. That might be because the parts weren’t written that way, but they act more like kids on a TV show rather than kids who have been through a major disaster and in Homer’s case, have been injured to the tune of a lost eye. While I can see Homer’s obsession with recovering that eye and of boredom and lack of supervision causing them to get into trouble, there are times that Homer just is too much like Bobby Hill in “King of the Hill;” a little bit too snarky. Same goes for Abby; she was acting like a kid out of a Tyler Perry movie.
The sad thing there’s really a movie here. Scott, Lynskey, Zuniga and Peltz all deliver solid performances and while Lynskey’s Amelia was annoying early on as you got to know the situation her motivations became pretty clear and suddenly she was a bit more sympathetic.
It’s really hard sometimes to critique efforts like this; for one thing, we’re not talking big budget Hollywood productions here and I know that the filmmakers want to tell the story the best way they can. Unfortunately, I can’t in all conscience say that I liked this movie and I can’t for the same reason recommend it without a whole lot of caveats.
REASONS TO GO: Scott, Lynskey, Peltz and Zuniga do well.
REASONS TO STAY: Too many lapses in logic. Juvenile actors too inconsistent.
FAMILY VALUES: There are a few bad words here and there and some implied sexuality.
TRIVIAL PURSUIT: The film debuted on March 15 at the Omaha Film Festival.
CRITICAL MASS: Not available.
COMPARISON SHOPPING: Trouble the Water
SWAMP BOAT LOVERS: There are several different types of boats regularly used in Florida swamps and the Everglades on display here, from rowboats to skiffs to power boats.
FINAL RATING: 5/10
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