The Maker

Josh is turning 18 and hanging out with a bad crowd. They do drugs, drive recklessly and even steal from the U. S. Mail. His brother Walter has been gone for a while and he comes back hoping to make amends for leaving the family. Josh has what seems like a brother-sister relationship with Bella, but he really wants Emily, a cop who is several years older.

Josh's parents died when he was very young, and he was adopted by the Minnells. Walter (who has gone back to his original name Schmeiss) knows the full story, which Josh has never heard, and what happened to them may explain why both brothers turned out the way they did.

'The Maker' is the one who makes the rules in a given situation. Josh has that opportunity when he helps Walter and Felice in their 'transfer and storage' business.

I think of the pleasant character from 'What the Deaf Man Heard' when I think of Matthew Modine. However, he can play bad guys too, and he made Walter likable and not really evil. As a con artist, Walter had to be quite a good actor too. I thought most of the lead actors gave good performances. Still, the movie was quite dark at times, and somewhat violent toward the end. Jonathan Rhys-Meyers effectively showed a young man having to make important moral decisions as he reached a point where he could have gone down the wrong road.

It was a worthwhile film, if you like this sort of thing.

One of the best movies I've ever stumbled across. A great character-driven low-budget film. Definitely worth checking out for yourself.

I saw this movie solely because Jonathan Rhys-Meyers and Fairuza Balk are in it, but it turned out to be worthwhile on its own merit. Of course, the performances by Rhys-Meyers and Balk do help. The crime story angle of it isn't terribly interesting. Whooo, lotsa shooting and squealing tires. (Yawn) The story of a teenager idling in life and waiting for it to happen to him rings true, though. Modine makes a sufficiently oily criminal trying to extend the "family business." The sequence where Josh finds out what happened to their parents is unnecessarily overblown, but it was bearable. Balk is, as usual, a hidden gem. Mary Louise Parker I didn't even recognize for a while, and her character seemed to be a plot device, but she did fairly well. I was floored watching Rhys-Meyers, thinking all the while "THIS is Brian Slade from 'Velvet Goldmine'??? Without the makeup and with his natural hair he looks at least five years younger, and it strikes you "heh, he's just a kid." One that can act, I've decided. His American accent is perfect, tinny and hollow and more authentic-sounding than those of some of the real Americans in the movie. I've rarely if ever heard a foreigner evoke so perfect an imitation of American speech. Anyway, this is a worthwhile movie. A little generic sometimes, but overall it's very decent. Ignore the misleading video box, but watch for the humorous parts, like when Rhys-Meyers gets pulled over by his dream girl in blue for running a stop sign.

If ever I need to renew my enthusiasm about current filmmaking, a film featuring the talents of Mary Louise Parker is a pretty good place to start. Her part in this film is as a supporting character, and the few scenes in which she appears and fleshes out the kindly but down to earth police officer underline how this film's best parts unfortunately don't add up to a good movie.

The leads are good (Rhys-Meyers is a talent to watch, Balk has always interested me and if Modine just sat and dribbled, I know he could make it look rivetting), the script contains some nice character exchanges, the camera work has some nice touches, and director Tim Hunter puts effort into giving the film some unexpected lift (such as sitting a crim at a desk on open ground beside an airport runway, and getting the art department to set up a backyard breakfast patio of white picket fence and red flowers under the threatening gaze of power lines.)

But although it started well, in the end, this is too many good individual stories fighting with each other instead of making a coherent whole. Any one of the various plot lines could've held their own. At film's end, the script has to literally shoot its way out of the entwined mess its in to reach a conclusion. Maybe this goes down well on cable. I think a viewer, whether sitting in a cinema, or in his own home, is entitled to better.

Quirky intelligent little tale of a boy choosing between his foster parents' dream of college and his older brother's exciting life of crime. A lot of fun funky little touches. Pacing is slow, but it's quite interesting.