Mean Dreams

Mean Dreams is a nifty neo-noir set in Canada. Northern Ontario near Sault Ste. Marie to be more precise. The film centers around Casey and Jonas, two lovers on the lam from Casey's abusive cop father played brilliantly by the late Bill Paxton in his last role before his untimely death. The film invoked memories for me of Nicholas Ray's "They Live by Night" 1948 and Robert Altman's remake of the film called "Thieves Like Us" 1974. But the film may be closest to Terrance Malick's "Badlands" 1973 where Sissy Spacek and Martin Sheen were the two lovers on the lam after murdering Sissy's abusive father played by Warren Oates. But comparisons can continue as it allowed me to recall the quirky "Moonrise Kingdom" directed by Wes Anderson.

Lovers on the lam is old theme most famously portrayed by Warren Beatty and Faye Dunaway as the ill fated lovers "Bonnie and Clyde" 1967. Both Casey and Jonas, played by Sophie Nelisse and Josh Wiggins, both of whom we are liable to see more of, are good in this film. Starting out as young and naive they quickly have to grow up as Jonas gets caught up in a drug deal gone wrong that was set up by Casey's father. Indeed how do you go to the police when it is the police that are bad guys. Colm Feore plays the other bad cop. You just know that none of this going to end well even if the lovers are somehow seen as getting away in the end.

The film is well-acted. It develops slowly and builds. We get to like Casey and Jonas and do really hope they escape the abusive father (Paxton). It's an indie neo-noir film worthy of being amongst the many neo-noirs that come out over the years. One of the biggest stars in the film is the landscape of Northern Ontario from the lakes, the fields and yes the small towns that prevail up there. Seeing the gorgeous landscape made me want to take a trip back.

The American-Canadian thriller "Mean Dreams" (R, 1:48) is one of two posthumous film releases for Bill Paxton (in addition to 2017's "The Circle", in which he has a small role). When Paxton died suddenly of complications from heart surgery at the age of 61 early in 2017, celebrity expressions of sorrow struck one consistent chord, well represented by Arnold Schwarzenegger's tweet that Paxton "could play any role, but he was best at being Bill – a great human being with a huge heart." In Paxton's most famous roles, he was an ordinary, basically decent guy caught up in extraordinary circumstances (as he was in "Apollo 13", "Twister", "Titanic" and "U-571"). He was also very good at playing tough and/or morally ambiguous characters (as he did in "Aliens", "A Simple Plan", "Edge of Tomorrow" and his award-winning HBO series "Big Love"), and some of his best work was as a basically bad person (as in "Weird Science", "True Lies", "Frailty" (which he also directed) and "Training Day", the TV series he was acting in when he died). "Mean Dreams" is another great example of Paxton playing against his true personality.

In this film, Paxton plays Wayne Caraway, a rural Michigan police officer and single dad, who is pretty bad at both roles – and a pretty bad person in general. When local boy Jonas Ford (Josh Wiggins, the star of 2015's "Max") starts seeing Wayne's teenage daughter, Casey (Sophie Nélisse, who played the title role in 2013's "The Book Thief"), Wayne is pretty… mean about shattering Jonas' dreams of getting closer to Casey. Mostly it's because Jonas isn't shy about trying to protect Casey from Wayne's abuse, and because Wayne doesn't want Jonas nosing around and discovering any of his other... activities.

After Jonas fails to get his father (Joe Cobden) or Wayne's boss (Colm Feore) to intervene on Casey's behalf, he takes matters into his own hands. When he witnesses an example of just how bad a man that Wayne is, Jonas steals some money, grabs Casey and hits the road. Of course, Wayne comes after his daughter – with a (literal) vengeance. As Jonas and Casey struggle to get away from Casey's dad for good, they confront the harsh realities of life on the run (especially as it pertains to two teenagers in the middle of nowhere), break some laws and put their safety and the safety of others at risk along the way.

"Mean Dreams" is a small, but entertaining coming-of-age movie. The two teen protagonists aren't quite Bonnie and Clyde, but their saga is engaging and their love story is affecting. Nélisse and Wiggins are two rising young stars whose emerging talents shine through in sympathetic roles and Paxton does his usual expert work as one really bad dude. The script (by Kevin Coughlin and Ryan Grassby) and the direction (by Nathan Morlando) keep the action and dialog both unusually grounded and fairly unpredictable, especially for this kind of film. The score and the cinematography (filmed creatively and beautifully in northern Ontario and Sault Ste. Marie) are also very good, especially for a movie made on a small budget. The film is a bit lacking in gravitas, but it's worth a look – to see Paxton in his last major role – and for the overall quality of the film itself. "B+"

Mean Dreams is every adolescent's worst nightmare. Or maybe it's horrible scenarios like this that prepare youngsters for the real world, and build character. Or perhaps they just turn them into the same bitter, violent adults they're trying to escape from, only to perpetuate the circle. In any case, it's an ugly, somber story, scarred by the harsh realities some teens face on the road to adulthood. It's ironic in a way that this is Bill Paxton's last role in cinema, and I wish it weren't, because he plays an absolute monster. For anyone who's met him or seen interviews, he was the sweetest dude you could ever hope to meet, and wouldn't hurt a fly, but he always chose tough scripts that made memorable, challenging films and this is just one more. Here he plays a lawman and single father who moves his daughter (Sophie Nelisse) out to a desolate county, brought to life by stunning, haunted rural Ontario. Once there, she finds her only friend in a local rancher's son (Josh Wiggins), and it's not long before romance begins to flourish. Not on Paxton's watch though, that angry drunk prick. Abusive, dangerous and up to his neck in illegal activities, it's only a matter of time before he gets one of them, himself, or everyone killed, and Wiggins hatches a plan to get the both of them out of there and on the run to better lives. Trouble is, where do you turn for help in a town whose only police officers are not there to help you? Paxton has a bitter ally in the Police Chief, venomously played by Colm Feore, and the dragnet they lay over the county threatens to ensnare the two teens at every turn. Wiggins and Nelisse are excellent, especially for their age, playing the character development with all the right notes, even when things get tense between the two of them, a facet of their relationship that's nice to see and brings out shades of maturity in the writing, touches that this type of film begs for. Paxton is scary, tragic, broken and brutal, a soured man who shows occasional flickers of the father he once must have been, and despite the ugliness, it's some of his best work in a while, particularly during a positively poetic final confrontation. The cinematography from Steve Cosens lingers in the long grass until you can hear the mournful echoes of a region beset by economic despair, a place where danger breeds easily and is always just on the horizon, an uneasy mood also perpetuated by Son Lux's unconventional score, which finds the spark of first love amidst the strife. Downbeat, but hopeful stuff.

On the whole, this is a very good movie all round. The four main cast members are superb, and the story is heavily character-driven, with no ridiculous stunts and special effects present to drown the characters out at any stage.

The lean score and graceful cinematography allow the story to be told at an ideal pace, and aren't used to lift the intensity as one would expect with this genre because the story is good enough to take care of this on its own. I never felt as if things were dragging or being rushed, and things were largely unpredictable aside from the ending, which was satisfying nonetheless.

For a good vs bad theme, the story favors neither side over the other in terms of skill and resources. So often the bad guys are made to look like fools but this isn't the case here, which I found to be quite refreshing. The teen romance side of things is handled better than almost any other examples I've seen. There aren't any cringe-worthy moments at all.

In all, Mean Dreams was much better than I expected, and well worth the time I spent watching it. If you're after a low budget thriller which is well made, character-driven, and intelligently written, you could settle for much worse than this one.

As far I know, there's a thin difference between Canadian films and the US. Just like the Hong Kong's Cantonese and the Chinese Mandarin films are. They exchange starts and crews, but most of the Canadian film I've seen were French language. Those English films are not as popular as the Hollywood's on the world stage. Lots of good films go unnoticed like the recent film 'The Confirmation' I reviewed a few months ago. If this same film were made in Hollywood, would have been considered an average. But for the Canadian standards, I mean they usually won't make the big budget fancy films, hence it is so much better.

This is a coming-of-age thriller drama. Revolves around two teenagers as they run away with a bag full of cash from their parents. It all begins with a girl, who arrive in a small town with her father. Soon she makes a friend with her neighbour boy. His parents are neglect kind when it comes to him, and her father is an alcoholic, abuser, as well as a dirty cop. One day her father comes standing between them, that's the opportunity they were looking for to run away, since being with their parents has not been any good. But her father is not in the mood to let them go as his money was involved. So the running and chasing game begins.

You might say, you have seen this story in all the similar themed films, no matter its Hollywood, European or the Korean. That's what I thought too, but still it is a very good film. I'm not expecting it to impress you as well. If it does, then that's great. But it all depends on your taste in films, quantity of films you watch regularly and most importantly your expectation from it. It was like another 'Cop Car', but there's no car involved in the core of the plot. It's all about the money and the mad-cop father. It looked kind of western style, or the tale that very much suitable for the humid California settings.

❝It's no ocean, but it's ours.❞

In this, it was always cloudy, wet and chilling moisture atmosphere where all the chase takes place. The great locations that avoids to get in any major town/city. Other than 3-4 main cast, there's no one else. Because most of the scenes are between the boy and the girl and sometimes her cop father in isolated places. There's a dog in the film, but not focused enough to classify it as a dog film from one of the angles. The pace of the narration was so fast with not too long or very short overall runtime. It had many twists and turns, yet definitely you would predict most of them.

Nice performances, by both the youngsters. As usual Bill Paxton nailed it in his negative role. It was one of his final films before his death early this year. It was a small appearance, but a prominent role that I surely would remember it for him. I was not anticipating anything extraordinary. But when I learnt about its synopsis, I thought I understood everything about the story there itself. Though watching it in the film was a different experience and one of the reason was, it is a different cast and atmospheric setting.

I felt they should have improvised in some of the parts, but at the end I'm satisfied being what it is. Especially in the initial stage, the intro was so simple and skips fast to the next stage. I did not fully understand any of the characters about their earlier life events to the point where this story commenced. But going forward, I started to have an idea, seeing how the tale has progressed. That really helped to come to the point directly.

There are no smart scenes like the film characters to take measures to counter the threats in a fancy way. That's done mainly to impress the viewers. This screenplay tried to be realistic as much as possible, but there's a couple of scenes that could only work in cinematic. I think that's sometimes necessary for a film. After all it is a film and made for entertainment purpose, not a documentary feature. But overall film was much better with enough tense moments and interesting developments. Lots of good films released in the last 12 months and this is not one of them, but considering it is from Canada, surely it is. Because I've already given the reason for that in the very first paragraph. So thumbs up for it from my side.

7/10