Sand

I'll give it a two for Denis Leary. He had some good lines, but that's it. What was the point? Where was the script? Who was supposed to act? A movie needs more than this one has to offer. Save the hour and a half to watch your hair grow, or fall out, whatever the case.

This movie wasn't actually so bad. A little bit put-up, not some great love story or stupid American action Rambo style, but it was realistic. Well, that's what one brother should do after some ugly nasty scums tried to ape his sister. I expected worse, so this movie is something I don't regret I watched. Norman Reedus played absolutely professional and I have no remarks to his part. Too many talking between the dad and the guy with the black jacket, too many similar scenes, not enough playing by Tylor, who was supposed to be the main character in this movie. Well, I am glad he didn't played much, he was too spineless. But I have to say I think that was a good movie. Much better than The Beanicks, Beat or Dark Harbor. I'd like to watch it again with a better quality and a beer ;)

Matt Palmieri must go to a lot of Hollywood parties or be connected to somebody cool enough to line up this many b-list celebrity performers in one certifiably awful film. Is this a case of "paycheck time" or a case of "Hey, Harry Dean Stanton agreed to do it, why not join the party?" Maybe they all have the same agent who got a call asking for the whole group to do either 'The Surreal Life' or appear in this film. Either way, it's still Surreal Life. Stanton, Denis Leary, Jon Lovitz, Julie Delpy, Kari Wuhrer and Emilio Estevez...... what, no Janice Dickinson or Verne Troyer? Oops, this was made in pre-Surreal Life 1999 and only surfaced recently... like the bones of a corpse washing ashore. My mistake. And anyone else's mistake for watching this. Even back in 1999 the Tarantino copycats had worn out their welcome, but this flimsy tripe is more of a fifth generation carbon copy of a Tarantino rip-off. And even if you watch it for the interesting cast you get cheated. Sure, you get Leary phoning in his usual acerbic performance, but his lines are mostly weak. Then there is Stanton who has ONE scene, and Lovitz, Delpy and Estevez who have little more than that. These should really be uncredited "guest" performances but they're featured prominently on the video cover. The real stars are Vartan, Wuhrer and a bunch of other young actors who mostly posture and yell at each other virtually nose to nose throughout. It's the old game of covering weak dialogue by having the actors shout rather than speak. Ooh, the intensity. And the storyline is so wrong-headed that it seems to flow like a dream spun by idiots. No example of this is more telling than the endless back and forth battle between the low-life brothers and the surfer dudes--the surfers apparently believing, not once, not twice, but even three times, that their besting of low-lifes with GUNS (yet not relieving said low-lifes of their weapons) means the scumbags have learned their lesson and will not RETURN with their GUNS. Oh, why go on...this film is junk and leave it at that.

It's quite the list of recognizable names and faces that filmmaker Matt Palmieri somehow assembled for this flick, and on that basis one has to wonder how it came and went unnoticed in 2000. Then one sits to watch, and it is no longer any wonder at all. The dialogue, scene writing, and characters are obnoxious, amateurish, ill-considered rubbish from the very beginning, and from one scene to the next the film seems to become ever more empty and vapid. The old family and acquaintances of protagonist Tyler are written to be unlikable and boorish, yet apart from their abject villainy I see little meaningful distinction between the folks he has tried to leave behind and those he newly embraces. The music is bland and stale; Palmieri's direction hovers is almost constantly overcharged, and is often also stilted and contrived; the cast seem forced and/or unsure of themselves from one moment to the next. As we reach the one-third mark we can only hope that things will improve, but if they do it will be a wild sea change that's just as confounding as the bluster that greets us from the outset. 'Sand,' unfortunately, is not very good, and in fact it's almost unwatchable for how ham-fisted and questionable it is in every capacity.

Whatever the mood, however earnest or raucous it tries to be, the viewing experience is desperately hollow across the board. As we enter the second act and complications arise in the narrative the turn inspires a quizzical twist of the head, for the plot development isn't exactly believable. As the minutes tick by it almost seems like Palmieri is specifically trying to aggravate us, as if the movie were a test to see how long audience members could endure the pain of watching, for not only does it never improve but it only ever gets worse. There are ideas that were workable, certainly, and some odds and ends come off better than others, yet in every regard the whole is so immediately tawdry and tiresome that it's hard to care about those aspects that are done reasonably well. I see the possibilities of what the feature could have been, yet it's uniformly defined by such blunt, tactless, pointless, vacuous, heedless rot that all the value it could have claimed is sapped. When all is said and done I won't remember any of the positive qualities 'Sand' bore, only how exhausting it was to endure ninety minutes of Palmieri's worst impulses.

There was potential here, and it was squandered. Whatever it is you think you're going to get out of this title, you won't find it, and I strongly suggest you find something else to watch. Let this 'Sand' be washed out to sea with the next wave.

The ONLY reason I bothered with this at all is because of Kari Wuhrer, who is one of the sexiest women in the movies today. Unfortunately despite the bad language, drugs, violence and low budget effort of the film, it was so low budget they could not even afford for her to have partial nudity...

Dennis Leary is actually the films strongest character, and delivers his lines with the same larconic smirking as in everything else he has been in.

The story is generated in the post Pulp Fiction era, but lacks any of the character building, or intelligent script writing of a Tarantino.

For all that, it is a good "pass the time" film for an insomniac sometime after midnight. There is a gradual escalation of hostilities between the beach bums and the hard nosed family, with Tyler caught in the middle.

There are reflections of male bull headed behaviour, together with laddish immaturity, as well as camaraderie and pride.

All in all, it is a film that paints every bad aspect of 20th century man into one film.