(2011) Drama (Magnolia) Thomas Dekker, Lynn Collins, Jeremy Piven, Mira Sorvino, Elizabeth McGovern, Emma Macgillivray, Joseph Morgan, Greg Lawson, Chris Ippolito, Dave Brown, Colin A. Campbell, Marty Antonini, Ameko Eks Mass Carroll, Jonathan Lachlan Stewart, Julian Domingues, Aedan Tomney, Wally Houn, Lindsay Burns, Barbara Williams, Christianne Hirt, Kate Walsh. Directed by Gaby Dellal
Bad things happen, sometimes to good people and sometimes to bad. Even the worst of events that occur have nothing to do with a person’s goodness or lack thereof. What the true measure of a person is depends on how they deal with the truly awful things that life throws at us.
Ethan (Dekker) is a 21-year-old young man who works at an auto shop in the working-class Rocky Mountain town of Angels Crest. It’s one of those places where everyone knows everyone else, where rugged individualism is the expectation and where the bleak winters often mirror the bleak outlook for many, who have no hope of escaping the lives they lead.
Ethan is the father to 3-year-old Nate (Carroll) and his sole caregiver, mainly because Nate’s mommy Cindy (Collins) is a mess, a raging alcoholic who can barely care for herself with a side order of promiscuity. One bright afternoon, Ethan takes Nate for a boy’s trip into the woods. On the way back, an exhausted Nate falls asleep and as Ethan drives towards town, he sees some deer. For whatever reason, he gets out of his truck, makes sure Nate is strapped in to his child’s seat, and leaving the heater running, follows the deer out into the woods.
You can guess that wasn’t a very smart idea. When Ethan returns to the truck, Nate is gone. He searches through the woods fruitlessly, then races back to town, returning with a search party but Nate is nowhere to be found. It takes a little while but little Nate is eventually found, frozen to death. Of course, Ethan is devastated and the hot mess that is Cindy blames Ethan for her little boy’s demise.
The town is sharply divided by the event, some joining Cindy in blaming Ethan and calling for his arrest for negligence (a feeling that the prosecutor (Piven) shares) while others believe Ethan when he says he was gone for just a few minutes and that this was just one of those horrible things that could have happened to anyone.
Like Atom Egoyan’s The Sweet Hereafter, the film examines the effects of a tragedy on a small town but the similarities end there. In the Egoyan film, the school bus accident that took the lives of a fair amount of children touched nearly every family in town; here, the directly affected are few. Still, the howls of Ethan’s grief are no less heart-wrenching no matter the number of children lost; in some ways the grief of a single person is more relatable than the grief of multiple people.
But the movie goes off the rails because of the excessive number of subplots which for the most part have no real bearing on the matter of hand. There is a lesbian couple (McGovern and Walsh) struggling for acceptance, with McGovern trying to win the affections of her own son (Domingues) who is also a horror show. The prosecutor has some deep dark secret that is motivating him to obsessively pursue an investigation that is tearing the town apart. A diner waitress (Sorvino) struggles to raise her own son on her own and happens to be Cindy’s best friend. Ethan’s best friend (Lawson) feels guilt over having been banging Cindy at the time of the incident.
All of these little subplots are enacted by characters whose only reason to be in the movie is to be involved in these subplots. They add no insight and don’t really enhance the story any. While the movie is beautifully shot with plenty of picturesque snow-covered vistas, the whole thing feels a bit like a soap opera more than a drama. While some of the scenes carry a good deal of emotional resonance, an equal number of scenes fall flat. This is as inconsistent a film as you’re likely to see.
Still, there is enough here that the movie is worth a casual glance if the opportunity presents itself although I wouldn’t put a whole lot of effort into seeking it out. The deficiencies in the film’s story and script nearly (but don’t quite) exceed the movie’s emotional impact.
WHY RENT THIS: Some of the scenes work. Evocative. Beautiful cinematography.
WHY RENT SOMETHING ELSE: Some of the scenes don’t. Heavy-handed and plodding. Soap opera-esque.
FAMILY VALUES: Adult themes, strong language and some sexual content.
TRIVIAL PURSUIT: The film was titled Abandoned in the UK.
NOTABLE DVD EXTRAS: There are interviews with Dekker and Sorvino.
BOX OFFICE PERFORMANCE: $832 on an unknown production budget.
SITES TO SEE: Netflix. Amazon, iTunes, Google Play, Vudu
COMPARISON SHOPPING: Gone Baby Gone
FINAL RATING: 6/10