Disappearances

Jay Craven's adaptation of Howard Frank Mosher's novel, "Disappearances", is an unusual, beautifully photographed (by Wolfgang Held, the same from the documentary "Metallica: Some Kind of Monster" - small budget is not a big issue when there's real talent and passion involved) western-style adventure that deserves to be discovered.

Kris Kristofferson has his finest hour as an actor playing Quebec Bill, a schemer who resorts to whiskey-smuggling with his son, Wild Bill (Charlie McDermott, "The Village"), in order to raise money to preserve his herd as winter approaches. They cross the border into Canadian wilderness, and embark on a wild, ghostly journey. Veteran, underrated Geneviève Bujold (Oscar nominee for "Anne of the Thousand Days"; "Dead Ringers") has a an important supporting role; the amazing character actor Luis Guzmán ("Magnolia", "Boogie Nights"), Gary Farmer ("Ghost Dog") and Lothaire Bluteau ("Jesus of Montréal", "Bent") are also part of the ensemble. "Disappearances" is an original, mysterious (the magical realism and metaphors make it refreshing and intriguing like a Terrence Malick flick on a cold day) film that doesn't fit in a single genre, for it dares to take a particular course and go all the way, faithful to its core. No apologies, Mr. Craven; your mission's accomplished, and everyone who experienced it with an open mind is satisfied. For those who didn't get it, well, it's their loss. Let them anticipate the next Michael Bay, and everyone's happy in their own shoes. 8/10 (a high rating for me).

Like the previous poster, I am from northern Vermont, and I was inclined to like this film. However, not since "Red Zone Cuba" have I seen such a confusing plot. The things the people sent to bootleg make no sense. Two of the gang paddle across the border send a second party across in a car. Uhm, why? Then they meet two others, and drive up at night in to the bad guy's hideout in a luxury Packard. --Wouldn't just two people in a flatbed truck make more sense? Then, parked outside the garage that holds the targeted hooch, the four fall asleep! When they waken in the morning and and start hauling the whiskey out, of course they're spotted and shot at, losing some of their precious cargo in the process. Then two of the smugglers put the whiskey in a boat and float it over the border. Again, why? I am told by someone whose great uncle really did smuggle in the area, all one needed was to drive a vehicle that could outrun than the U.S. Canada Border Patrol, which back then had a fraction of the resources it has now.

And don't get me started on the last half hour, which made no sense whatsoever.

The only good thing I can say about the film is that Kris Kristopherson has actually grown some charisma with the years.

What a delight! In a market where we excuse bad scripts and flat characters for a dozen more explosions, dazzling special effects, and everything else twenty million dollars can buy, I love Disappearances for its charm, its clever script handled by a well-appointed cast, and its beautiful photography.

The movie is thoroughly rural. Like the countryside where it was produced, it unfolds itself slowly but magnificently. Do not expect to find your heart in your throat for two hours, followed by a climactic and tidy resolution to the cosmos. Disappearances tells a story of father and son, and it is rightly more of a process than a particular event. In that regard, the plot development is stylistically more similar to eastern European cinema than it is to its American peers.

With only a couple hitches (some characters are more prop than talent), Disappearances' strong symbiosis of script and talent is the film's greatest offering. The superb synergy of Farmer and McDermott with the others, the perfect casting of Sanderson to character, and a good performance by Kristofferson, have me pinching myself at times to remember these people aren't actually family. Disappearances ventures further, or more believably, into the psychology of its main characters than many American films dare go.

That Jay Craven was ambitious with his budget shows at times during Disappearances, but it becomes more of a mark of honor than a detractor. This film is the antithesis to the contemporary action blockbuster. The film moves slowly at times, and the action is not always plausible, but the characters are for the most part enchanting. Besides, our suspension of disbelief in the cinema is an aesthetic choice above all, and I appreciate the way Disappearances, in its fusion of magic realism and frontier, challenges me to look at movies anew.

This well-meant film falls just a bit short, and unfortunately in too many areas.

The scenery is gorgeous, with vistas of north-central Vermont providing the setting for this mid-century tale. Quebec Bill endeavors to go back to his whiskey-running past in order to save his farm.

Going back and forth between scenes of magical realism and straight-forward action, this film rarely hits its stride.

Kris Kristofferson as Quebec Bill seems pretty stilted, or else it's his lines; or else his cross of Yankee and Quebecois accents. Anyway, he just comes off as a low-key blow-hard. His dialogs with Gary Farmer's Coville character do sparkle, though. William Sanderson's Rat Kinneson is solid. Charlie McDermott shows some real potential as young Wild Bill; but his part's not large enough to carry a scene and he never steals one. Luis Guzman shows up on Lake Memphramagog (with a fine stand-in performance by Lake Willoughby) as a monk with a boys'n'the hood accent: who knows? And then there's Bujold's Cordelia: an oracle like her namesake, she channels Yoda as she intones lines like "You will marry a Quebec woman!"?!? Just too weird and nowhere near enigmatic enough.

The end gets really choppy. Again a bad mix of magical realism and the concrete. And Yoda never provides an answer we can understand.

To be fair, I saw this movie on network TV, so it may have been edited, and I missed a few minutes in the middle of it. Having said that, this one's a turkey. The scenes are pretty, Kristofferson did well, and I guess the kid from The Middle was believable enough, but a movie's quality isn't necessarily inversely proportional to how believable or realistic it is. Likewise, a dull and confusing movie isn't necessarily a good one. I have the sneaking suspicion that the people raving about this movie either a) are the pretentious types who think movies that don't make sense are works of brilliance and whose pride won't let them admit they don't make sense or b) put up money to make the movie and don't want to feel they've been jobbed. On that note, at the end of the credits, it lists all the people who gave money to make the movie along with people who hosted fundraisers for it; if a movie is that hard to sell and has to rely on so many private sponsors, along with government money from the NEA, there's a good chance it's not any good. You know, now that I think about it, since some of my tax money went to fund this stinker, I fully endorse it myself. God bless America. If you're looking for a good indie-type movie, skip Disappearances and watch An Unfinished Life with Robert Redford and Jennifer Lopez.