Breakwater

The Extremely Prolific Dermot Mulroney (142 Credits), Fresh-Faced Darren Mann, and the Cutie-Thespian Alyssa Goss,

All Bring a Good Game to a Coastal Village Where Secrets and Treasure are Revealed that Make this a Somewhat Intriguing Independent Dramatic-Thriller.

It's a Good Edgy Mystery with Multi-Dimensional Characters, a Quick Pace and Sharp Sea-Side Images (shot with one camera and no CGI).

The Story Goes in Different Directions Now and Then and Keeps Viewers On-Their-Toes. Some Revelations May Make a "Suspension of Disbelief" Mandatory, but it Does Not Interfere too Much with the Entertainment Factor.

Overall, it's a "Dark" Tale that Leans into Neo-Noir Territory as a "Lifer" (Mulroney) Grooms and Protects a Young Inmate and Asks a Favor when the Latter is Released.

This Sets in Motion a Chain of Layered Events Containing Enough Depth and Skullduggery that Makes it an Above Average Film in its Class and is...

Worth a Watch.

Mark this as one of those films that apparently got released but which I never heard of until, some time later, I came across it by chance while looking at the credits of someone involved (Celia Rose Gooding, for the record). This is perhaps a bit curious since there are at least a couple notable names among the cast (Dermot Mulroney and Mena Suvari); maybe it's a little less curious as we observe that it's only the second effort of James Rowe as a filmmaker, for newcomers don't often get big press. I sat to watch with no foreknowledge or particular expectations, and therefore surely the clearest head that I could, so how is 'Breakwater,' actually?

I look forward to seeing Rowe grow as a writer and director, and may he impress in the future. It's not that this movie does anything drastically wrong. It's that there's nothing really special or noteworthy about it, and it plays so safely within established crime drama-thriller territory that it mostly just sails on by unremarked, and any dings in the factory-made chassis that rub us the wrong way become extra glaring in the process. Scenes, characterizations, and dialogue range from rather lifeless and dull - plucked straight from the pages of a "connect the dots" crime flick how-to manual - to gawky and almost cringe-inducing, as stilted and awkward in Rowe's administration as boyish protagonist Dovey is meant to be as a character. The overall story is suitably engaging, but also doesn't specifically stand out at all, itself coming off as the assemblage of bits and pieces the filmmaker pulled together from disparate points of inspiration (surely including TV movies) without requiring major creativity on his part. And though I think the actors give apt performances, it's not like they especially shine, or even could under the circumstances, least of all as Rowe's direction is mostly as common as his script, if not also bland.

It takes more than one-third of the length before the first real jolt of violence provides a small spark of vitality, and before Rowe shows some cleverness in his writing. In fairness, maybe I shouldn't judge that first portion so harshly, for the remainder does stand a tad more sturdily as the tale turns darker. Then again, it's not as if the aspects that initially gnaw at us go away, including a romance that feels a smidgen forced (if a man and a woman share the screen, they MUST fall in love, didn't you know?), and production values so crisp and modern that they serve to somewhat sterilize the would-be seediness of the proceedings. I find myself unconvinced by how the plot is developed, and additional backstory and twists added in; becoming "sturdier" does not mean the whole is perfectly sturdy. Sure, in general the picture is well made, and there are some moments - mostly in the last third or so - that I would even describe as "very good" as all elements come together more sharply, and with greater potency, and more wit. I just wish that such verbiage could be applied to a more significant percentage of these ninety-six minutes, because all told, the strength is too variable to earn substantial commendation.

I don't dislike 'Breakwater.' Actually, I want to like it more than I do. It's fine, and satisfactorily enjoyable as something that can be watched a bit passively. It's just that "fine," "satisfactory," and "passive" is not what we tend to want from cinema, and if that's the first and final impression that a title makes, then its lasting value leaves a bit to be desired. Check this out if you like, and may you find it a more fully absorbing experience than I did; I wish nothing but the best for all involved. Just don't go in expecting a revelation, and maybe that's the best way to appreciate Rowe's sophomore effort.

This was a huge waste of my time, and I'm sick in bed so there's nothing else to do but waste time. I don't know how it ended up on my to watch list, but this was all drama, no thrill, and extra cheesy. Do your self a favor and refrain from making the same mistake I did. The elements of suspense led me to believe that maybe, just maybe, something unpredictable could happen, but I was disappointed time and time again. I wish I had something to recommend about this movie, but there was nothing that I actually liked about the film. I gave it a 3 because the camera operation was clean, and I liked the setting and background.

Breakwater is about strong character, always fulfilling a promise, making food out of bad, and how being naïve can lead you to bad choices and negative outcomes.

There's a couple of twists along the way that you may or may not suspect are coming. But they liven up the film as it's pretty flat in terms of emotion and excitement.

The only character that really comes alive is Mena Suvari's barmaid, Kendra. The rest all fall flat for the most part but they carry out their roles OK enough to not make the film a B movie. Darren Mann is the exception, who's acting and affected voice just makes you want to scream at the screen. He was very badly cast for the character he had to play.

Nevertheless it's an easy watch that doesn't demand much from the viewer, the storyline is actually not bad at all, and production values were pretty decent. You will never watch it again, and it won't last in your memory, but you won't hate giving up an hour and a half of your time to see it.

From the outside looking in this movie appears to be an inferior version of Cape Fear. However this is a well made indie movie that is equal parts mystery and thriller.

The story is engaging enough to also keep you hooked all the way through. Performance wise Dermot Mulroney maybe gives one of his best performances ever as Ray and director James Rowe probably watched Cape Fear before making this because Mulroney's performance here reminded me a lot of De Niro's from that movie. Alyssa Goss also does well with her role. Daren Mann as Dovey is the one who really gives a breakout leading role performance here and I hope to see him in more things going forward.

The film sort of feels rushed in the last 15 minutes however and the ending could've packed more of a punch. Overall though for a direct to video indie film this was above par mostly due to the strong performances from both Mann and Mulroney and the strong direction from James Rowe.