Come Early Morning

COME EARLY MORNING is not only a marvelous Joey Lauren Adams film, but is something which an audience can empathize with in watching the sun's rays fall upon Ashley Judd as she wakes up next to a man that she has long forgotten from the night before. With early morning, the film is about facing your demons and the truth about yourself and your past.

Ms. Judd nails her character to a "T" and the supporting cast is really wonderful in bringing out her past and more importantly, about what she has attempted to accomplish in her young life in a male world. The film is painful, and yet also joyous, in watching the journey which Judd has taken in gaining self worth, and happiness. The last scene is rich and memorable for a film heavy with pathos, pain and anger.

COME EARLY MORNING brings Ashley Judd front and center in her career as an important and talented actress in American cinema.

Talented Joey Lauren Adams wrote and directed this marvelous slice-of-life about a hard, stubborn, unapologetic young woman's journey to finding some self-worth in her quietly turbulent existence; she attempts to get her head in a good place and make peace with the past, but learns it doesn't all come into play overnight. Ashley Judd is just wonderful in the lead: gritty, tremulous, tough, never dumbed-down, she evokes just the right touch of devil-may-care recklessness with a kind of horse-sense which should resonate with a lot of viewers. If you ever come across this theatrical film playing on the Lifetime network, don't be fooled into thinking it's a cable-quickie. Adams puts a lot of thought into her prose (sometimes too much, as the conversations have a tendency to have an already worked-out give and take). The film is flawed, certainly, yet its scattershot hopefulness permeates through, and the performances are rich and memorable. A rewarding character-study, and a small triumph for both creator Adams and star Judd, marking a welcome return to serious acting. *** from ****

Ashley Judd gives a remarkable performance in this film but there are lots of other reasons to see it. Indeed, the music is very good, and there is a CD soundtrack (I checked Amazon as soon as I came home).

There are many painful moments as an extended and frayed family tries to talk to each other, or avoid it. It's about being stuck in old patterns and being clueless about making changes, no matter how old the people are.

I know one reason the film got local buzz is because it was filmed here, but as someone who hasn't lived in AR long, I was just an average movie goer looking to see Judd in something that was not a highly charged thriller. Ruby in Paradise (1993) was the first time I ever saw her, and that film about how to survive when no matter what you do doesn't seem enough, showed her talent. Come Early Morning evoked the same feelings.

The whole project seems a labor of love, love of real people living ordinary lives and doing the best they can.

COME EARLY MORNING marks the writing and directing debut of Joey Lauren Adams who elects to share a bit of her birthplace atmosphere in Arkansas and while the story is sound and the writing evocative of the personal turmoil of little towns populated by good but bored people, there is nothing new here. But just the opportunity to see gifted actress Ashley Judd strut her stuff is reason enough to watch this little film and makes us wonder where has she been since her 2004 stint in 'De-Lovely'. She is just too fine an actress not to be given more beefy roles.

Lucy Fowler (Judd) lives in a little Arkansas town, a successful contractor with boss Owen Allen (Stacy Keach, another underused fine actor), but a woman without a firm attachment to her fragmented family: her shy and sequestered father (Scott Wilson) has returned to town where he hides in alcohol and steps out only for Holy Roller church services; her grandmothers Doll (Candyce Hinkle) is unstable and keeps to herself and Nana (Diane Ladd) remains in a mutually abusive marriage; and her uncle Tim (Tim Blake Nelson) who is the only stalwart member of the clan. Lucy lives with her friend Kim (Laura Prepon) who understands Lucy's shortcomings: unable to form relationships, Lucy spends her weekends getting drunk at the local tavern and sleeping with anonymous men whom she deserts a dawn.

But things change when Lucy encounters Cal Percell (Jeffrey Donovan) who provides her with the first semblance of normalcy in her relationships with men, a frightening new step she abuses by entering into her drinking mode again. Lucy begins to make changes in her view of her family, her fear of being the mirror image of her father, in her work, and in the way she views men. And the film just trails off leaving us wondering what life will now be like.

Adams has a fine handle on her subject and creates dialog that feels like it should: her election to make such a fine three-dimensional character out of Lucy's father who barely has a line to say is much to her credit (and the strong performance by Scott Wilson!). But in the end it is the pleasure of seeing Ashley Judd in a meaty role that makes the difference. Grady Harp

Joey Lauren Admans "Come Early Morning" seems almost like a continuation of the film that made its star, Ashley Judd, famous, Victor Nunez' "Ruby in Paradise." Both pictures are about girls trying to make a life for themselves in small southern towns, but Lucy, the protagonist of "Early Morning" is at least a decade older than Ruby. That is why it seems almost to be the next chapter in Ruby's story.

The decade has not treated the protagonist well. Where as Ruby was a sort of wide eyed innocent, Lucy is now a woman whose journey through life is encumbered by a lot of baggage.

She has problems relating to men on a romantic level, seeing them as either cold and unresponsive like her father or just mean and domineering like some of the other men in her family and the slugs she picks up in local bars.

So, somewhat predictably, when she meets a nice guy, she rejects him enough times that he eventually moves on.

Ashley Judd is such a fine, appealing actress that she keeps you glued to the screen, despite the somewhat predictable plot twists. But there is something about the screenplay which fails, for I never had much faith in her character, who in many ways seemed as emotionally bottled up as her father.

And that's the film's failure. "Ruby" ended on a hopeful note, if for no other reason than that the central character was smart, resourceful and had her whole life ahead of her. "Come Early Morning's" protagonist faces a cloudy future and while the film showed guts in admitting that, it didn't leave you wanting to see more of Lucy the way the earlier film made you want more of Ruby.

Nice try by everyone involved, but it was just too dark a picture in many ways.

One final note. So many films these days have no significant subplot. Lucy had some kind of construction business, but it was so downplayed that in the end, when she takes over the business, we don't exactly know how big an achievement that is, or if it really means more to her than just taking on harder work for no real pay off.

This film could have been more effective had her career or some other aspect of her life been more fully developed so that she faced some real test there as well. Subplots are important in that they give stories and their protagonists depth. And of course, the stakes always need to be higher for the protagonist, to make us care.