A Cor de um Crime

Detective Lorenzo Council (Samuel Jackson) must separate the truth from the lies when a troubled woman (Julianne Moore) shows up at the emergency room claiming that a black man from the projects carjacked her, taking her 4-year-old son, who was sleeping in the back seat.

Freedomland is a disappointing film that fails to take advantage of its talented cast and intriguing premise. The movie fails because Joe Roth is a terrible director. He tries to handle a bunch of different issues and he just doesn't mix them very well. He also introduces different characters and subplots but he doesn't build on them. Also, for a movie tackling serious issues, it was pretty unrealistic. The whole lock-down scenario was completely over the top and unnecessary. The kidnapping story had a bunch of holes and the way the cops handled the situation was pretty irresponsible. All the characters were stereotypes and most of them were unlikable. There were a lot of scenes dealing with racism but the film never actually dealt with them or settled them. The ending was total letdown and very little was actually settled, making the whole movie experience pointless.

The acting is the film's only strong point with Samuel L. Jackson giving the best performance. His performance felt a little familiar but it was still effective and his emotions never felt forced. Julianne Moore went completely over the top with her performance. She was annoying and completely unrealistic. Also, it was hard to feel sorry for her character because she was so unlikable and her actions were just terrible. Edie Falco came out of nowhere and she gave a pretty moving performance. She played the only likable character in the film and it was easy to feel sorry for her. The rest of the supporting actors were below average and no one else broke out.

Along with the acting, there were a few other good things about the film. There were a couple of engaging scenes that could have been better if the director had built on them. The script was also decent and it could have been turned into a good film. The movie also had an interesting style to it and at least it sort of engages the viewer. While the film was pretty messy, it held my attention until the end. Of course, the performances helped with that but the storyline had a chance to build. Unfortunately, it didn't and the movie ends with a whimper. In the end, Freedomland is an annoying melodrama with very few redeeming qualities. Rating 4/10

I think Joe Roth was aiming for something deeper with 'Freedomland'. It's not necessarily a bad movie, but it isn't really a good one either. From an acting stand-point, it's great with solid performances from Samuel L. Jackson (Jackie Brown) as a determined police detective and Julianne Moore (The Forgotten) as a whacked-out dead-beat mom who's son has been kidnapped. Edie Falco is also pretty good with a role that's anything but Mrs. Soprano. The writing or dialogue, however, is absolutely terrible. I think 'Freedomland' actually wouldn't be a half-bad movie if the screenwriter put as much work into the character's conversations as he did the creativity of the racial epithets spewed through-out the film. 'Freedomland' annoyed me in a sense that the movie trailers made it out to be something it's not -- a taut, mystery/thriller, when in reality it's a film about racial and economical tensions. 'Freedomland' is pretentious in that it thinks it's an Oscar-caliber film when in reality it's a slightly above-average suspense film filled to the brim with tired clichés. 'Freedomland' is enjoyable if you can see through it's smug undeserved sense of brilliance. Grade: C .(screened at AMC Deer Valley 30, Phoenix, Arizona, 2/20/05)

Samuel L. Jackson plays the role as Lorenzo Council a detective in charge of a bad housing project and one night the racial tensions were ready to explode. A young lady, Julianne Moore, (Brenda Martin) approaches Lorenzo and is in a frantic condition, saying that someone stole her young boy of 4 years. There is immediate concern for this child and this sparks off problems in the project, because many Black children do not get this kind of attention. Day in and day out the search continues in many parks and then their attention is focused on an abandoned orphanage in a place called Freedomland. Lorenzo begins to get upset with all the trouble this situation is causing among the people and harm can come to all these people. You will never be able to guess the ending and if you like Samuel L. Jackson and Julianne Moore, don't miss this film, they both were great.

I'll admit, I read the novel a few years ago and I was a big fan of it. So I went into the theater already wanting to like the movie. I wasn't as concerned with plot details as some other viewers apparently were. Since I knew what was going to happen, I simply focused on reliving the story, and seeing how the filmmakers interpreted it. It's such a dense novel with so much going on, I think Richard Price is the only person who could've adapted it and still kept the spirit of the original material. Now, all that being said...was it a good movie? In my opinion, yes it was. I felt empathy for all the characters (except Brenda's brother, who I felt contempt for). I was surprised that I was able to empathize with Brenda's character, but I credit Julianne Moore for that. She gave a performance that was filled with pain, and confusion, and fear, and all the emotions I would have imagined Brenda would be going through. Samuel Jackson played Lorenzo just as I hoped he would. Not over the top with a bunch of yelling and fist pounding. But as a man who realizes all too well what can happen when a white woman points the finger at a black man and yells "He did it!" The biggest problem I have with the movie is the way that it's being marketed. If I hadn't read the book, I would've never gone to see it based on it's trailer. It looks like just another missing child thriller. So I can understand why some viewers felt cheated when they saw the movie and realized that it's much more complex than that. It's about the politics of race, and how they can be manipulated. It's about the uneasy truce that exists in some communities, and how quickly a fuse can be lit to ignite tension. And most importantly, it's about people making choices that they regret, and the aftermath of those choices.

If you're looking for a missing child thriller, or a theatrical version of a CSI episode, this probably isn't for you. If a tough examination of race and class makes you uncomfortable, then don't bother with this one. But if you want to challenge yourself as a viewer, and get inside the minds of characters who are trying desperately to hold their worlds together, then I think you'll get something out of this film.

Julianne Moore is looking for a child again, but this time it's real time, hardscrabble New Jersey projects rather than the mind of a perplexing mom (Forgotten, 2004). Moore plays Brenda Martin, who claims to have lost her son to a carjacker who absconded with her son sleeping in the back seat? Veteran detective Lorenzo Council is indeed the counseling type whose patience with the ranting Martin wears thin as he suspects lies among her details of the abduction.

Director Joe Roth seems to be more interested in the racial combustion inherent in the situation. In fact, he goes to lengths to show white police confronting black protesters, who are rightfully furious at the support for the disappearance of one white child when many more black missing children barely cause a ripple. Roth doesn't let it all go too deeply into contemporary racial politics while by comparison he gives ample time for Council to ruminate on his responsibility for his son's incarceration for armed robbery. Even the conflict between Martin's cop brother's desire for revenge and Council's attempts to keep his blue-collar burb of Gannon out of the project is underdeveloped, apparently left among the editing ruins.

A nice touch is the presence of a volunteer group looking for missing children, headed by Edie Falco's Karen Collucci, who has a missing child for 10 years. The group offers a sane oasis amid the fire of the social tensions, and Collucci offers advice and insight far ahead of any smart detective's. Falco upstages Jackson with a gritty sincerity and cool that could win her mayor of Manhattan if she so wished.

Freedomland turns on social tension but never gives it a chance to flourish. The issues are lost like the child among too much Martin moaning