Miles Ahead

About 126 minutes into the film I was really wondering when the story might kick in, and then the credits started to roll. I'm incredibly upset by one thing, at no point in my life will I ever get those 126 minutes back. I assume that many years from now I'll be sitting on a death bed wondering where the time went. I can tell you one thing my friends, that time will not be spent on repeat viewings of Miles Ahead.

Poor Miles Davis, that's all I can say. What a disgrace.

If you've seen this film and you said that you don't like it, it obviously means that you have a short attention span or have ADD. I just saw this film at the San Jose Film Fest (cinequest) during spring break and it was not only the best film that I saw there, but it is the best piece of storying telling rapture that I have seen in a long time. Major props too Matt Zbotovski,Dylan Trivette and their crew on this film. If you like a well developed, well told cinematic experience, this film is for you. I highly recommend this film to any aspiring filmmaker who wants a lesson in how to achieve Cinematic Catharsis.

Also, maybe the reason you didn't like this film was because there weren't any homosexuals in it and because the story didn't revolve round some kid coming to grips with his alternative sexual orientation...That aside, Miles Ahead is a winner, Hands Down...

I'm confused. And I think some other viewers are as well.

Although Miles Ahead is not the most riveting film in my movie-going repertoire, I felt towards it as I have towards many European films that are slower-paced: if you just relax and let it play out, your experience will at least be pleasant. In this case, the story lacks much (to say the least), but the pace of the film as paired with the music and scenescape possesses a mesmerizing rhythm. I particularly enjoyed the score, which reminded me of the soundtrack to Monster's Ball, but with more of a playful flare. The cinematography and general production value of the movie was top-notch. I'm not sure quite what happened with the script, but I suspect that that is where the problem(s) originated.

As far as the gay/coming out issues, maybe I -- a true, unabashed heterosexual male creature -- am just not "getting it". Maybe my gaydar is broken. Or maybe I'm just getting old. But I saw nothing in the film that lent to the fact that the two main characters were even remotely gay, much less struggling with acceptance issues in that regard. What I witnessed was the camaraderie between two friends (albeit the most boring interaction). What -- are men supposed to growl in each other's faces or slice the air with swords in order to appear obviously male? Also, I met the filmmakers at the Q&A after the screening and, well guys, I hate burst anyone's hopeful hubba bubba bubble, but those guys are as straight as I am!

Like so many other films whose subjects display such vague colors, Miles Ahead leaves much to the imagination. (But let's not get carried away.) My only wish is that the directors had, themselves, allowed their imaginations to paint the screen a little--- No. Scratch that. ---a LOT more vividly when it came to dialogue and storytelling.

One of the bones I have to pick with modern American film is its fear of tackling issues related to homosexuality. Unfortunately, it still seems to be a taboo when it comes to movies. That's why I was so thrilled at the debut of "Miles Ahead".

The story, in a nutshell, is this. Two boys in a small town are confronting the stigma of their love for each other- how to keep it a secret, whether or not to leave the town, and what to do. One of the boys, Taylor, wants them to leave, to be with each other in a place where their love can bloom- where "no one will know them". The other boy, Miles, is reluctant, worried about shaming his father or incurring the disapproval of the small town. He clearly loves Taylor- the scenes with Taylor and Miles together project an electrifying romantic tension (especially the scenes where the boys are working on their car). Miles finally decides to leave with Taylor- but, on the way out of town, Taylor is killed by a truck while sleeping in the car.

The movie goes on to show Miles dealing with life in the closet. The numerous scenes of him walking alone seem to signify his isolation. The only girls that he's shown with are unattainable- one is a 7 year old soccer player, and another is the mother of his dead friend. Some poignant scenes include a female classmate hitting on him, unaware that he does not- he cannot- share her affection. For his love is with another, and he can't get over that. But should he?

The recurring theme in the movie is handled brilliantly- instead of stating the obvious- "coming out of the closet", like a more mediocre filmmaker might do, the filmmakers here cleverly refer to it as "going over the mountain". Taylor is constantly pushing Miles to take the journey with him, over the mountain. But, as those of us who have been there know, you can only make that decision on your own. It's never easy- the filmmakers realize this- and it's a painful part of growing up gay in a small town.

I highly recommend this film to anyone open-minded enough to appreciates its beauty. Some people, conditioned to the fast paced films of Hollywood- films that involve conflict, action, and story- will find this film deliberatly obtuse. But to those of us who can appreciate this type of filmmaking- especially those of us, like the filmmakers, that have been through this experience- the film will prove to be an eye-opening look at love.

I recently saw "Miles Ahead" at the Minneapolis Central Standard Film Festival, held from October 14-17th. This is the most accomplished, heartfelt, and deeply moving independent movie I've ever seen made by a group of novice twenty-somethings. Not only does the film aim for more than the usual offbeat cute romantic comedy or the "I've graduated from college and my life sucks" kind of indie movie this age group frequently makes, "Miles Ahead" uses film as visual medium to get its message across to the viewer making it a sensory experience. While some have noted that the movie "rips off" or "imitates" Terrance Malick, I disagree. In this viewer's opinion, "Miles Ahead" uses its visual in ways found in the best work of Gus Van Sant - particularly in "Gerry" or "My Own Private Idaho"; however, unlike Van Sant, the co-directors of this film have a story/theme that resonates with honesty and emotional heartbreak. The spectacular views of the North Carolina mountains is an added bonus as well. With the movies "George Washington" and "Sinkhole" - both made of alum from the same school as the Miles Ahead team and both filmed in the same North Carolina region, one can only assume that North Carolina is now the home of the best indie regional film-making in the United States. Move over Austin - these filmmakers have REAL stories to tell, and the technical know how to make them both polished and emotional. A must see!