Sonhos Perdidos

"She needs help. I gotta do something." Casey (Nélisse) has just moved into town and finds a friend in Jonas (Wiggins). The two begin to spend an awful lot of time together against the wishes of Wayne (Paxton), Casey's abusive dad. When Jonas tries to help Casey a series of events occur that alter the lives of all three involved. This is a movie where, going in, I thought it had the possibility of being very slow and drawn out. I can't say I was completely wrong but it did move a little quicker than I expected and did have a story that kept me engaged the entire time. There were a few surprise aspects in this, but for the most part it was pretty predictable. The real reason to watch though is for Paxton. He plays a character so unlikable and it really adds to the tension of the movie as you are almost willing the kids to get away from him. Overall, nothing mind blowing or amazing but this is worth a watch and I liked it more than I expected to. I give this a low 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.

Bill Paxton is menacingly great. The two leads have good chemistry and their love felt pure and authentic. Paxton's daughter sharing her painful and violent family history, and her boyfriend's reaction to hearing it felt raw and I connected to it. The movie's scenery is so relaxing and beautiful. Even the on-the-run parts were fine, until the rushed, disjointed, predictable final 36 minutes... I wish they had cut out some of the drama and ended the movie with the lovebirds on the bus riding into a new and unknown future.

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.