Dixieland

Without a doubt, one of the subtlest, most real and visceral movies of the century. This film kicked my butt down the block. The dialog is genius, the acting is genius, the cinematography is genius.

A new dimension in cinema realism that echoes the revolutionary Italian neo-realism of the late 1940's. There is no proscenium with this film, no sense of stage. The story line is a baseball bat between the eyes. Meanwhile it sets a new standard, a new aesthetic.

For a "bad boy making good" film, it is low key, but an intense low key. No exploitation of paranoia. No textbook suspense tricks. No sense that the actors are acting. No need to suspend disbelief. The honesty of this film could earn a place at the Dogme 95 end of the spectrum. I'll be looking for Bedford's future work.

I loved the movie, because it deals with a situation that many ex-cons deal with once released from prison. Faith played a convincing , caring mother. I felt all the actors played their roles well. I loved her sons desire to go straight and help his girlfriend out. it showed he had a heart and was a good kid inside, just faced challenges in the environment he was in. The same for his girlfriend, a good daughter in a bad situation and only could work with what she knew. I love the fact also that Faith is so versatile in acting and singing. I know some reviews thought it was a waste of her acting ability, but I saw the opposite. she was very convincing and her love and concern for her son came thru in her acting.

The acting feels natural, they are all more or less believable in the parts they play so that's good.

The story isn't particularly original though and fairly predictable, although instead of going the Hollywood route and squeezing out every emotion of every event the movie stays in a natural and low-key.

If that's good or not is a matter of preference I suppose but in the end I didn't feel any emotional connection with any of the characters so that's where it fails IMO.

To further the feeling of realism in the movie they have the occasional interview segments with real Dixieland people talking about various things every 10 minutes or so, which I thought was an okay idea but they did it a little too often if you ask me.

I noticed that movies and shows I like a lot are often written and directed by the same person. That level of control and continuity ensures a story that's true to the author's intention. It certainly works with this film. This is one of those small screen gems that I enjoy immensely—well crafted and acted with a somewhat unpredictable plot.

You would think that inter-cutting the film with real life interviews would distract from the dramatic momentum, but that's not the case here. The short documentary type interviews inserted at intervals actually inform the unfolding drama —we realize by the end that those interviews are actually the foundation of the film.

This film was lovingly put together: the acting, the cinematography and the music all come together artfully, resulting in an authenticity that has left me thinking about the real life people caught in an unfortunate cycle of poverty, drugs, and crime.

It was a low budget movie for sure but entertaining for what it's worth. I wish it didn't end like it did. Faith Hill was great of course. I hate when some reviewers bash other people's hard work and risk, but they themselves just play it safe all their life at a 9-5 and never take a risk or never subject themselves to creating anything because they are scared. Some people will relate to the movie and some won't, but that's just how it is. For what it's worth the sound track was pretty good (if you like hip hop). There were quite a few songs from a group called LOWC, and it's hard to believe it was made 20 years ago. http://www.lowcbigballin.com